LEMENTARY 



EMBROIDERY 



MARY SYMONDS 

(Mrs. G. Antrobus) 



THE MACMILLAN COMPANY 




EW YORK 




Book.. .: n5 



ELEMENTARY EMBROIDERY 



ELEMENTARY 
EMBROIDERY 



MARY SYMONDS 

(Mrs. G. ANTROBUS) 



THE MACMILLAN COMPANY 
NEW YORK 

JOHN HOGG 
LONDON 

19*5 



V 



/ d 



\\o 



S 






Printed by Hudson & Kearns, Ltd. 
Hatfield Street Works, London, S.E. 



3 

00 



Dedicated to 
LADY (DOUGLAS) DAWSON 



CONTENTS 



Chapter 

I. Choice of Object — Materials — Design 
of Transferring, Etc. 

II. Tools and Appliances — Materials 
Framing ... 

III. Canvas Work 

IV. Solid Shading 
V. Crewel Work 

VI. Marking and Lettering 

VII. Muslin Embroidery 

VIII. Applique 1 ... 

IX. Figure Embroidery. 

X. Gold Work 

XL Drawn and Cut Work... 

XII. Darning, Hemstitching and Open Seams 

XIII. Methods of Transferring Embroidery 



Method 
Methods of 



XIV. 
XV. 



Page 
19 

26 

39 

48 

58 

75 

86 

94 

101 

105 

121 

130 

148 



Contents 



Stretching, Ironing and Pasting Finished Work 153 

Mounting and Trimming Work ... ... ... 158 

List of Illustrations ... ... ... ... ... 12-15 

List of Victoria and Albert Museum Catalogue 

Numbers ... ... ... ... ... 173-175 

List of Books of Reference ... ... 176 

Index ... ... ... ... ... ... ... 177 



xi. 



LIST OF ILLUSTRATIONS. 



Fig. 



Page 



List of 






Chapter I. 




rations 


1 


Tracing Materials 





23 




2 


Tracing Wheel... 


Chapter II. 


24 




3 


Knife 


... ... ... 


28 




4 


Frames and Trestles 


... ... ... 


29 




5 


Padded Frame... 


... ... ... 


29 




6 


Method of Framing 


* • ... ... ... 


34 




7 


"Broche" 




38 




8 


"Mclore" 




38 



Chapter III 
9-10 Tent Stitch or Petit Point 
11 Gros Point 

Large " Gobelins " 

Diamond Daisy 

Square Daisy ... 



12 
13 

14 
15 



Encroaching Stitch 



Chapter IV. 

16 Block Shading ... 

17 Solid Shading ... 

18 Hand 

19 Chain, Solid 

20 Solid Crewel 

21 Leaf in Solid Shading and Cord Edge 

22 "Bout" 

23 Laid Work 



40 
42 
43 
44 
45 
47 



48 
49 
50 
51 
52 
53 
54 
55 



Xll, 



Fig. 



Page 





Chapter V. 












24 Crewel Stitch 




58 


List of 


25 Outline Stitch . . . 


... 








59 


Illustrations 


26 Looped Shading 


.. 








59 




27 Herringbone Plait 


... 








60 




28 Cretan Stitch . . . 


... 








61 




29 Chain Stitch . . . 


... 








61 




30 Knot Stitch . . . 


... 








62 




31 Combination of Crewel and Link 








62 




32 Crewel, Chain and Link Stitch 








63 




33x Oriental Stitch 








64 




33y Laid Oriental Stitch ... 








65 




34 Trellis and Diamond Filling ... 








66 




35 Double Coral Stitch ... 








68 




36 French Knot 








69 




37 Bullion Stitch 








70 




38 Berry Stitch 








71 




39 Braid Stitch ... 










73 





Chapter VI. 








40 Cross Stitch Letters ... 


70 


41 Tacking to Toile Ciree 








78 


42 J. L. Letters in Outline 








79 


43 Monogram A. D. 


... 






80 


43x Solid Filling 


... 






81 


43y Hole Filling 


. . ... 






81 


44 "Ida" 


. . ... 






S3 


44x Padded Satin Stitch ... 


. * ... 






83 


44y "Holing" 


... 






85 



Xlllo 



List of 
Illustrations 



Fig. 

45 
46 



47 
48 
49 



50 
51 



52 
53 
54 
55 
56 
57 
58 
59 
60 
61 



62 
63 
64 
65 
66 
67 



Chapter VII. 
Collar Corner in Muslin Embroidery 
Six Patterns in Muslin Embroidery... 

Chapter VIII. 
I. Tacking Applique. II. Pinning .. 
Outline Couching 
Inlaid Work 

Chapter IX. 
Split Stitch 
Drapery 

Chapter X. 
Couching Gold, Flat ... 
Stems in Gold Work ... 
Gold with String Padding 

Felt Padding 

Acorn, Padded and Worked ... 

Padding and Working for Purl 

Parchment Padding ... 

Method of Working Plate 

Spangles 

Overlapping Spangles... 



Chapter XI. 



Solid Buttonholing 
Reticella 

Picot 

Reticella 

Richlieu Embroidery 

Rroderie Anglaise 



Page 

86 

87 



95-96 
97 
98 



102 
104 



106 
108 
111 
114 
115 
116 
118 
118 
119 
120 



121 
122 
124 
125 
127 
129 



XlVo 



Fig. 



Page 







Chapter XI 


[. 






68 


Darned Patch, I. and II. 130-131 


List of 


09 


Warp Darning ... 






. 134 


Illustrations 


70 


"Twill" 








. 135 




71 


"Fishbone" ... 








. 130 




72 


Solid Darning ... 








. 139 




73 


Hemstitching ... 








. 141 




74 


Corner ... 








. 142 




75 


Open Seam I. and II. 








. 143 




70 


Faggotting 








. 144 




77 


Genoa Seam 








. 145 




78 


Looped Seam ... 








. 140 






Chapter XIII. 




79 


Over-Sewing ... ... ... ... ... ... ... 150 




80 


Transferring Canvas Work ... ... ... ... ... 151 

Chapter XIV. 




81 


Stretching Work 153 

Chapter XV. 




82 


Mounting Sachet ... ... ... ... ... ... 159 




83 


Trellis and Tassel Fringes, I. and II. ... ... ... 102 




84 


Simple Tassel, I., II., Ill 163 




85 


Elaborate Tassel, I., II., III. 104 




80 


Blanket Edgings, I., II., III. 100-108 




87 


Smyrna Edging 


. 




... ... 


.. 109 





XV. 



AUTHOR'S FOREWORD 

THE object of this book is to give sufficient know- Author's 
ledge of Embroidery to enable the student to Foreword 
become an expert both from an artistic as well as a 
commercial point of view. 

It is purposely written more or less in outline, so 
that the teacher using it may have scope for original 
thought and individuality ; at the same time the 
student should be able to obtain a good grounding in 
the craft, even without the aid of an experienced in- 
structor. The work is therefore carried out in quite an 
elementary way, starting with the supposition that the 
pupil has learned nothing whatever of embroidery. 
The historical part has been but sparsely touched upon, 
and a second, more advanced, course will probably be 
brought out shortly, in which that portion of the 
subject will be elaborated. 

Designing for embroidery should rightly be studied 
along with the technique, but beyond indicating the 
style of design suitable for various stitches, and illus- 
trating the method of transferring a pattern to the 
material, the author has not been able in so small a 
volume to enter into " Embroidery Designs," as such. 

The illustrations have been chiefly drawn from 
specimens in the collections at the Victoria and Albert 
Museum, South Kensington, London, and, to facilitate 
the study of the originals, a list of the catalogue 

xvii. 



Author's numbers has been inserted at the end of the book, 
Foreword together with a list of reliable books of reference. 

The author's sincere thanks are due to the authorities 
of the South Kensington Museum, especially to Mr. 
H A. F. Kendrick and Mr. P. G. Trendell, for their kind 

advice, and for the facilities they have afforded in 
placing at her disposal the resources of the Museum ; 
also to Miss A. M. Weatherley for the excellent manner 
in which she carried out the illustrations, and to several 
other of her " Girls " for their help in working some of 
the patterns, and, lastly, to her Sister for her valuable 
assistance in arranging and compiling the book. 

Hampton Court Palace, 
1915. 



XV111- 



CHAPTER I. 

Choice of Object, Materials, Design, 
Method of Transferring, etc. 

SINCE the aim of the embroiderer should always Choice of 
be the decorating of some useful or really ornamental 
object, the teacher should take care that the pupil is 
trained to select something which is necessary, and not 
merely a piece of material on to which embroidery 
is put for the sake of doing it, without having any 
definite idea as to its employment when finished. An 
exception may be made with regard to samplers of 
stitches, which are of the highest possible value to the 
worker, especially as an assistance to memory for 
different methods of working, and to facilitate the 
choice by a glance at a sampler, of stitches applicable 
to any piece of work that may be in hand. The proper 
application of any stitch taught should be clearly 
defined when illustrating it on a sampler. 

The many articles which most readily suggest them- 
selves to the embroiderer are those in general use in a 
house ; table and bed linen, covers, curtains, hangings 
of various kinds, also dress ; the latter should be 
embroidered with reserve and discrimination, with 
colours to suit the style and characteristics of the 
wearer. Indeed, all embroidered objects should har- 

19 



Choice of monise if possible with the style of person and house 
Work f or which they are destined ; works of art suitable for 
a cottage might be quite out of place in a palace, and 
vice versa. In ordinary commerce the objects in greatest 
demand are, perhaps, various covers, teacloths, cushion 
covers, small articles like bags, and so on. These being- 
in constant use in a house, it is both practical and wise 
to choose materials which can be washed or cleaned 
easily, as having spent a great deal of time, care and 
labour in the production of them, it is desirable to keep 
them as long as possible. Another element which comes 
into the commercial side, and which must perforce be 
considered if the pupil is to earn a living with the 
needle, is the amount of ornament which can be ex- 
pended on any particular object, for which the price is 
limited. The work itself should always be of the highest 
and best quality, and the price regulated by the quantity 
employed. It is neither true economy nor art to put a 
large amount of bad embroidery with the idea of giving; 
" plenty for the money." 

Materials The materials used are many and various. Most 

linens, if firm and of tolerably good quality, are good 
for working upon, but if drawn-thread be required, care 
should be taken to see that the warp and weft threads 
are of the same thickness and evenly woven. Many 
kinds of woollen materials make satisfactory back- 
grounds. Silks should be uniformly woven and of 
sufficiently close texture to take the stitching properly ; 

20 



satins with a linen warp are quite sueeessful for furniture Materials 
and heavy use as they wear better than most pure 
silks. Cotton warps with silk weft should never be 
used. Cloth-of-gold and materials woven with metals 
are very difficult to embroider upon, except in metal, 
and it is usual when silk embroidery is required, to 
execute the same on linen and then transfer it to the 
background by couching or some similar method. 

The choice of design is of the utmost importance, 
and the worker should determine, before finally deciding 
upon it, what kind of stitching is to be put upon the 
object, as a large bold design would probably be quite 
unsuited to fine, delicate stitchery. The making of 
designs is a special and highly trained art in itself, and 
particularly in commercial work it is often impossible 
for the embroiderer to make a study of it, but instruc- 
tion in a certain amount of drawing and colouring 
should certainly be given to enable the worker to put 
in stitches intelligently and with proper effect. 

It is a mistake to choose any design, floral or other- Design 
wise, which is only suitable for painting ; so-called 
" natural flowers " when worked in silks are very seldom 
a success. When, however, this does happen to be 
the case, it is usually when the worker has had either 
sufficient training or possesses natural artistic taste 
enough to conventionalise the flower or other forms, 
while executing them. A Cushion or an object of that 
kind, which is intended for use in all positions, should 

21 



Design have a design which looks well even upside down. 
Chair cushions, on the contrary, which are fastened 
to the furniture can be embroidered with a bird or even 
a figure, which would look but foolish if standing on its 
head, were it seen on a loose cushion. Where possible, 
the design also should be made specially for the article 
which it is intended to decorate. It is not a successful 
method as a rule to take part of a pattern designed for 
a large piece of work and use it for a small, leaving the 
edges unfinished. The design for each piece of work 
should be complete, otherwise the same effect might well 
be obtained by cutting a portion of damask, or other 
patterned material, thus saving the trouble of embroider- 
ing. The styles of design which are generally accepted 
as suitable for ordinary embroidery are those of the 
Italian seventeenth and eighteenth centuries, including 
the English and French adaptations of them, some of 
which are especially applicable to large objects, as also 
are some of the Spanish and Italian Applique patterns, 
some of the so-called Jacobean embroideries, and some 
of the period of Queen Anne, and the early Georgian, 
and some Persian (vide Victoria and Albert Museum 
catalogue numbers at the end of this book). It is not 
intended to include in this list Ecclesiastical embroi- 
deries and designs as such. Oriental embroideries are 
also frequently very beautiful and are quite suitable 
for copying as studies, but it is very seldom that Western 
nations can reproduce them with the same amount of 

22 



B- 



Fig 1. 




Transferring 
Designs 



feeling as do their native workers. The study of them Design 
is, however, a valuable education and the variety of 
stitches adds very considerably to the interest and to 
the knowledge which can be utilised by the worker, but 
surely it is far better, if possible, to try to create a style 
peculiar to the age and to the race who produces the 
work, and whose traditions and tastes would naturally 
be fundamentally different from those of the East. 

Having selected or designed the pattern, it must be 
drawn out upon transparent tracing paper, and the 
business of transferring it to the material is entered 
upon, but it is first necessary to perforate the paper 
with tiny holes, very close together, following precisely 

and closely the 
line of the draw- 
ing. To accom- 
plish this, the 
traced design 
should be pinned 
face downwards 
upon a piece of 
f e 1 1 or thin 
blanket, if pos- 
sible white in 
colour, in order 
that the black line of the drawing may be thrown up in 
contrast. Having pricked the entire design, it will be 
found that the holes are smooth to the touch on the wrong 

23 



Tracing 
Materials 



Wheel 



side, while on the right side they will be raised and 
rough to the touch. In the illustration for this chapter, 
is depicted a sharp instrument for pricking (Fig. 1a), 
a portion of the perforated drawing (Fig. 1b), and a 
tight roll of felt (Fig. lc) for employment in the next 
part of the process. For large, bold figures a tracing 
wheel is often used (Fig. 2). The wheel must always be 
drawn towards the operator over the exact line of the 
tracing. It is made in three sizes. 

firmly fixed with draw- 
even surface (table or 
design placed right side 
this also being firmly 
possibility of its 
perforated surface is 
with powdered char- 
with " pounce," a 
indigo and creme de 
riz alone ; the tight 
felt now comes into 
to thoroughly rub the 
holes, so that the 
appear in powder upon 
Pure charcoal should 



The material is now 
ing pins upon a flat, 
drawing board) ; the 
uppermost upon it, 
pinned to prevent the 
moving ; the entire 
lightly rubbed all over 
coal, or in some cases 
mixture of powdered 
riz, or with creme de 
roll of cloth or smooth 
play, and is employed 
powder through the 
complete drawing will 



Fig. 2 



the material beneath the paper, 
never be used for transferring designs to light or deli- 
cately coloured silk or woollen materials. The next 
proceeding is to lift the tracing paper carefully from the 
material, and to trace over the powder marks which 

24 



will be seen on its surface (first blowing it slightly to Wheel 
remove any superfluous powder) with a fine sable 
brush, either No. or 1, filled with a mixture of prepared 
Indian ink for most materials, and red or blue water- 
colour paint, mixed if necessary with Chinese white, and 
a very little gum, for silk or fine linen, the ink being apt 
to spread on these latter materials, thus spoiling the 
tracing lines. Woollen materials are traced with oil 
paint which has been treated with turpentine. 

After the tracing is finished and dry, any pounce 
remaining on it can be shaken or dusted off easily. 

It is not advisable to use carbon paper for tracing 
because it is impossible to get a really good line, and the 
colour ruins the threads in working, also the marks 
of the tracing cannot be removed in the event of the 
carbon sheet slipping, or not being placed quite straightly 
upon the material, whereas, with the former method of 
transferring, the pounce can be dusted off if incorrect, and 
re-pounced, before finally inking or painting in the lines. 

There are some excellent transfers, copies of good 
antique embroideries, to be obtained for ironing on to 
the material, but the worker should choose with great 
discrimination when venturing to use such. 

It is always best to transfer a design, and not to risk 
drawing it directly on to the material, as nothing looks 
worse than untidy and dirty work, exhibiting incorrect 
tracing lines beyond the edges of the embroidery when 
finished. 

25 



CHAPTER II. 

Tools and Appliances. 

Tools Scissors should always be sharp, and two pairs at 

least are required ; one pair large enough to cut out 
the materials, etc., having one round and one sharp 
point, and one small pair the shape of nail scissors, 
with sharp, though very strong, points. 

Thimbles can be of any kind, but for practical use 
they should be plain with large indentations ; an ivory 
or bone thimble is generally smoother than a metal one, 
though the latter has the advantage of being much 
more durable, and it is quite easy to rub the surface 
when it is first bought with a piece of fine emery or 
glass paper, to prevent any roughness from catching 
and spoiling the thread whilst working. Two thimbles 
must be used when working on a frame, one on the 
middle finger of each hand. 

Needles. — Of this small but indispensable instru- 
ment very much can be said, but it is only necessary 
in a book of this description to enumerate a few kinds, 
with their different uses. In choosing a needle there 
are a few essential points to be observed : — {1) that it 
be of hard, bright steel, capable of taking a very sharp 
point where such is required ; (2) that the eye of 
whatever shape it is, should be perfect and smooth, or 

26 



it will cut the thread ; and (3) that the eye is sufn- Tools 
ciently large to take the thread easily. Cheap em- 
broidery needles are not an economy, as they bend or 
break readily. 

Round ok Egg-Eyed Needles are used for 
plain sewing, sewing the work into the frame, mounting 
and finishing the embroidery, and also, if round or 
tightly twisted threads are employed, as, for instance, 
when couching (laying down) metal or other threads 
and cords, with a silk called "horse-tail"; again they 
are used with a fine metal thread called "tambour," and 
with waxed linen thread for gold work. Some people 
also prefer a round-eyed needle for floss silk which, 
not being twisted, becomes roughened very easily. 

Various long-eyed needles are used for embroideries : 
Crewel Needles have eyes of moderate size and long 
stems ; Chenille Needles have longer and broader 
eyes, with stems shorter in comparison, and both of 
these kinds are fitted with sharp points and are used 
for all sorts of threads ; Tapestry Needles are like 
chenille needles, but with the points rounded, and 
they are used for working on canvas, etc. Then there 
are Bead Needlp:s, which are exceedingly fine ; Har- 
ness Needles, with round eyes and blunt points for 
darning upon net, etc. ; Rug Needles, with thick 
blunt points and large spread eyes for carrying the 
thick rug wool ; Curved Needles for working on a 
stiff flat surface, and many more. 

27 



Tools 



Knife 



The needle, as we have it to-day, is supposed to have 
hailed from China several hundreds of years ago. 

Pins of fine steel, and also larger ones with glass 
heads, for use with the padded frame (Fig. 5), are 
necessary, as also is a Stiletto for piercing holes when 
ending cords, etc. 

The Knife, which is of the greatest practical use, 
is an ordinary office " eraser " (Fig. 3). Both edges 



Frames 



Frames and 
Trestles 



C 




Fig. 3 



are sharp and, being rounded at the point, it is perfect 
for cutting out appliques. For the latter a sheet of 
lead fastened on a block of wood is also required. 
Appliques should never be cut on a wooden board, as 
the knife is liable to slip along the grain and spoil the 
pattern, nor should they be cut out with scissors, which 
leave a roughened and stretched edge. 

Of these there are many kinds, but, strange to say, 
those most used, especially for commercial purposes, 
are exactly the same as the examples left us first 
by the Egyptians (the Tomb of the Mother of 
Queen Tii), and afterwards by the Greeks, etc. (Vase 
in the British Museum.) 

Fig. 4 shows two of the simplest frames arranged 
for use bv two workers simultaneously. This method 
of tilting the frames against each other on the same 

28 



trestles is adopted in trade workrooms to economise Frames and 
space. 




Fig. 5 is a padded lap frame to which the work is secured La P Frame 
with the glass-headed pins, mentioned above. The worker 
is thus enabled to stretch a small portion of a large piece 
of work, or to add a stitch, best worked in a frame, to an 
embroidery of which the remainder is worked on the hand. 

This type of frame may be unscrewed and packed 
quite flat. It is useful for business purposes for com- 
mencing small pieces of an embroidery. 

Besides these there are frames of many other 
descriptions. Those generally used in workrooms are 

20 




Lap Frame made frequently with screw side bars and nuts, instead 
of with flat laths and pins ; there are also small lap 
frames with stands, and many other kinds of ring frames, 
some with 
stands ex- 
tending to the 
ground (com- 
plete without 
a table), others 
where the 
rings spring 
into each 
other to grip the work ; enormous iron frames for factory 
work, which are screwed up with winches, and similar 
ones in wood, to take wall hangings and theatrical work. 
Materials Under this heading will be included fabrics suitable 

for embroidering upon and the threads, etc., used for 
the embroidery. In selecting a material there are 
several points to be considered : — (1) What article it 
is proposed to make, which naturally includes the use 
to which it will be put ; (2) Whether it is desirable to 
use a washing material ; (3) What the design and pre- 
dominating colours are to be, especially if it is to 
harmonise or to contrast with any object already 
existing ; and (4) last but not least, what amount may 
be spent upon the production of the article. 

For washing materials, a linen is always suitable 
but in the case of colours it must be first ascertained 



30 



that these are fast ; some cottons and silks of the Materials 

nature of Tussore and Japanese washing silk are also 

good. 

Various silks and satins with a smooth surface 
make good grounds, although where very light shades 
are used care must be exercised to prevent the em- 
broidery appearing " hard," as if it were cut out and 
stuck on to the foundation. 

Some of the most successful grounds, perhaps, are 
materials woven with a self-coloured pattern in silk 
damask with, for instance, a small, or, in some cases, a 
large and well-covered pattern upon it. A ground of 
this description produces a broken surface and adds 
greatly to the play of light and shade. 

Velvets make beautiful grounds, the best being 
those with short thick pile ; there are also some now 
manufactured with slightly uneven or shot colourings, 
which are excellent in effect. 

One important thing to remember is, that whatever 
ground be chosen, the ornamentation is put upon it 
for the purpose of enhancing its beauty, or for enriching 
an object which would otherwise be plain and un- 
interesting ; therefore it is not wise to choose a ground 
more valuable than its ornament, for instance, a cloth 
of gold or magnificent silk worked with linen or woollen 
threads would be most unsuitable. 

The ground material should always be strong enough 
to carry whatever embroidery is put upon it, or it 

31 



Materials 

Materials to 

use for 

Embroidering 



should have a backing of linen or some suitable stuff to 
strengthen it. 

Cotton Threads and Linen Threads of various 
sizes and sorts are good. The latter, being more durable 
and having a " crisper " appearance, should always be 
used for linen work and lace making. 

Woollen Threads are also of many makes, the 
most extensively used being single and double crewel, 
and tapestry wools. The first is a 2-ply twisted thread 
suitable for working upon linen and woollen materials, 
and is especially used for the " Jacobean " crewel work 
and for various stitches upon canvas. 

Double crewel, as its name implies, is a coarser 
thread of the same kind. There are also very fine 
crewel wools, and very coarse rug wools for carpets and 
mats. In some of the Old English and nearly always 
in the Dutch crewel work, a much more tightly twisted 
worsted was employed with excellent effect, and when 
copying a similar piece of work the same make of wool 
must be used. 

Silk Threads. — The most useful are : — 

(1) Floss, of many thicknesses, which is a very beautiful 
untwisted silk, although beginners may find it 
difficult to manipulate ; 

(2) Purse and tightly twisted silks, which are perhaps 
the next in value as regards wear and beauty, and 
which are frequently used for couching ; 

(3) Filofloss, which is a 2-ply slightly twisted silk, much 

32 



easier to work with than floss, but without so good Materials to 
an appearance ; use for 

(4) Mallard, which is a coarser twisted thread ; Embroidering 

(5) Filoselle, which is an inferior silk of dull appearance ; 

(6) Horsetail, which is a very fine tightly twisted silk, 
and which is used for sewing down various kinds of 
metal threads, spangles and beads. 

Metal Threads are very numerous, and are made 
from gold, copper, silver, aluminium, etc. The prin- 
cipal kinds are Tambour and Passing, both manu- 
factured by winding thin strips of metal on a 
silk or a flax core. A similar thread is made, 
called Japanese Gold or Silver, which consists of 
thin strips of silk-paper on to which gold or silver 
leaf has been laid and burnished, the whole being- 
wound upon a core of red or yellow floss silk ; 
several kinds of Purl, rough, smooth, checked, etc., 
which are made like a spring, without a core, to be 
cut into the necessary lengths and threaded like beads ; 
Pearl Purl for edgings ; Plate, which is thin flat 
strips of gold or silver. 

Beads of all sorts are used for embroideries, also 
Precious Stones or Pearls, either mounted in metals 
or pierced with holes to be sewn on. 

Spangles of many shapes are used ; the most 
generally employed are round, either flat or concave, 
but there are also long-shaped ones like those seen in 
old embroideries, and which are often concave and 

33 



Materials to ribbed ; some of the ancient ones were stamped with 

use for devices, etc. ; others of different shapes are introduced 
Embroidering ^ dregs ^ theatrical work< 

Methods of The different parts of an ordinary frame are : — 

Framing The rollers, to which is attached the webbing on to 

which the work is sewn ; the two side pieces which 




slip through the holes in either end of the rollers, and 
which are used to stretch the frame taut when the work 
is sewn in — these are either flat laths pierced with many 
holes to allow of four pins or pegs being put in at the 
distance required, or they are long wooden screws with 

34 



a nut at either end to push the rollers out as far as Methods of 

necessary. The first thing to do when framing work is Framing 

to find the exact centre of the webbing (Fig. 6), and if 

a permanent mark F be made on the frame, it will save 

trouble in the future. This, of course, applies to both 

rollers. Some string, fine but strong, will be required 

for lacing, a rug or small packing needle, large enough 

to take the string, a reel of strong white thread and a 

needle for sewing in the work. 

If a backing of linen is to be used, it must be first 
thoroughly washed and shrunk ; for many purposes a 
specially made linen tammy is suitable, which does not 
require shrinking. 

If the work is small enough to be framed without 
rolling and a backing is to be applied, cut the backing 
to the required size, and take care that the corners shall 
be quite at right angles ; the selvedges of all materials 
except velvet should be placed parallel with the side 
bars. Turn under about half an inch of the linen at the 
top and bottom, and herringbone it on the wrong side 
to prevent fraying ; cut off the selvedge (if any) at both 
sides, and do one of two things : — (1) turn under an 
inch of the linen over a string or cord and herringbone 
it down as above, or (2) sew on to the edge very strongly 
either a piece of webbing or a strip of the linen, then 
buttonhole into this at the outside edge some of the 
string mentioned above at intervals of an inch for small 
frames or ljin. for large ones. Now find the centre of 

35 



Methods of the top edge of the linen and mark it with a pin ; do 
Framing the same for the bottom edge ; take the centre of the 
top edge and pin it to the centre at F of the webbing 
C on roller AB (which yon have already found) ; pin 
the two corners to the right and left of the webbing ; 
commence to sew the work on to the webbing in the 
centre F with strong close stitches, holding the work 
towards you and sewing, say, to the left ; fasten off 
very securely at the end of the webbing ; re-commence 
at the centre F, working towards the right, and fasten 
off as before. Repeat this process for the bottom edge 
of the linen and with the second roller. Now insert 
the side piece D E into the holes of the rollers and 
secure with the pins or pegs ; repeat for second side 
piece, stretching out the frame as far as it will go 
until the work is quite taut. Now take the string 
and lace it through either the edge of the linen as pre- 
pared at G, or through the string loops prepared accord- 
ing to method H, taking it over the side bars and pulling 
it as tightly as possible. All this applies equally to 
the framing of a piece of material which does not 
require backing. 

Having framed the backing linen, proceed to sew 
on to it the material K, silk or what not. Slightly 
loosen the frame, then pin the stuff L very carefully 
and as flat as possible to the backing, then herringbone 
it, M, closely all round, finally tightening up the frame 
again, when it will be ready to commence work. 

If the work is too long for one framing, it may be 
rolled up, N, at both top and bottom if necessary. A 

36 



piece of washed flannelette, wadding, or some soft stuff 
should be cut to the exact width and length of the part 
to be rolled up ; place this on the work and roll both 
together very evenly, taking care not to have any creases 
in the flannelette — tissue paper is not good as it invari- 
ablv wrinkles and marks the work, and if metals or white 
silks be used, the " dress " in the paper will spoil them. 

If a shaped piece of material is framed on to the 
linen, and a backing is not needed, the latter, O, may be 
cut away after the material is sewn into its place. 

If a large piece of work is put into a small frame, 
part of it only can be sewn to the backing at one time, 
the rest being neatly pinned together and covered up on 
the side of the frame. A new piece of backing will be 
required each time the work is shifted. 

Ring frames are not very successful as they are apt 
to mark the work, but a good plan is to take a piece of 
soft stuff, either flannel or flannelette, and place it 
between the work and the outer ring, cutting out its 
centre to expose the part to be worked. 

Embroidery should always be kept covered up 
whilst working, with cloths kept for the purpose, with 
the exception of the small piece which is being executed 
at the time, and the worker should wear washing sleeves 
and an apron. For hot hands a good remedy is to keep 
a box filled with a mixture of violet and zinc powder 
and to dust them with this occasionally, and, of course, 
frequent washing of the hands is necessary. 

An emery cushion, too, is needed to keep the needles 
bright. Metal work should be kept covered with a 



Methods of 
Framing 



Appliances, 
Etc. 



37 



Broche 



<? 



Melore 




Broche 



Appliances, special paper made for that purpose, and should be 
Etc - handled as little as possible whilst the work is in 
progress. 

A little instrument called a 
broche (Fig. 7) is useful to wind 
the thread A upon while in use, 
and a little steel tool (Fig. 8) with 
a blunt point, either curved or 
straight, is also useful for pushing 
the stiff metal into place. In some 
workrooms this is called a " Melore," 
although the derivation of the 
word is apparently unknown. 

All the embroidery worked on 
the hand should be first bound 
with tape or ribbon to prevent 
fraying. The proper method of 
holding the material is to grasp a 
piece between the thumb and first 
finger, spread it over the second 
finger, which should be held slightly away from the 
first (to make as it were a little frame) ; the second 
and third fingers should grasp the material to keep it 
quite firm. The threads should not be drawn too 
tightly or the work will pucker, to prevent which it is 
a great help to hold the material across the fingers, 
either straight with the warp (selvedge) or with the 
weft, and never on the cross (bias). 

38 



Melore 



Fig. 



Fig. 8 



CHAPTER III. 

Canvas Work. 

In the succeeding chapters on Stitches* the varieties Canvas 
illustrated must, of necessity, be limited in number, Work 
so that those have been selected which are practically 
the parents of their classes. A few methods of grouping 
them with one another are also given, which will enable 
the student to elaborate them as progress is attained, 
and to recognise the different forms of the same stitches 
on ancient pieces of needlework. 

Before attempting to work any of the Stitches upon 
a piece of embroidery, it is necessary that the student 
should practise the methods of executing them, accord- 
ing to the instructions given in the book, upon a piece 
of coarse linen or canvas, with a large needle and suitable 
thread. Having learned the Stitch, it will be found an 
easy matter to work it upon a finer material. 

Specimens of embroidery upon coarse linen or 
canvas are among the oldest which have descended 
to us, but the number of stitches, formerly called 
" cushion," is limited. 

In this class of work the ground as well as the 
pattern is entirely covered. The piece chosen for the 
illustrations is one of a series of six Wall Panels dis- 
covered some time ago in Hatton Garden, London, 

39 



Canvas Work each panel containing a number of " cushion " stitches. 
The materials used are flax-canvas and wools of many 
shades for the execution of the work. The colouring 
is gay, the panels are extremely decorative, and were 
made about the middle of the seventeenth century. 

In the following diagrams, the rows of canvas are 
numbered and lettered in order to assist in the lucid 
explanation of the method of working the various 
stitches. The thread selected for use should always be 
of sufficient thickness to allow of the whole ground 
being covered, leaving none of the canvas threads 
visible between the stitches when finished. 



23456789 




I I I II i . l I. 



■ IIILL^V/lll 



■ at in; mi -inupir 

■ ■mi rr, cg i 
~ir? rrrt rmiu 

"11 r? m iki 



i crt t 



i 



■ ■wrrr r_ 
ibi c^ r^i 






Fig. 9 



Fig. 10 



Tent Stitch 



CANVAS STITCHES. 

Figs. 9 and 10. — The stitch most commonly used 
in canvas work is perhaps the " Tent " stitch, or, as 
the French call it, " Petit Point." It is highly 
important to make tins stitch correctly, otherwise 

40 



the embroidery will become pulled quite out of the Tent Stitch 
square, so much sometimes that it is impossible to use 
it even if it is nailed to a piece of furniture or to a wooden 
stretcher to be put into a screen. It must always be 
worked on a single thread canvas, that is, over one 
thread each way. On the front it will appear as in 
Fig. 9, while the back will represent a coarse, evenly 
woven material with the warp and weft threads alter- 
nately over and under each other, as shown in Fig. 10. 

In working Fig. 9, begin at the top right-hand side, 
and bring the needle up through the canvas in the hole 
formed by lines numbered : — 

8 and B 
down again into the hole 9 ,, A 
bring it up again at - 8 ,, C 

to commence 2nd row, 
down at - - 9 and B 

take needle underneath 
two threads horizon- 
tally to - - - 7 „ B 
put it down again at - 8 ,, A 
bring it up at - - 6 ., B 

to commence 3rd row. 
down at - - 7 and A 

take needle under two 

threads vertically to 7 ,, C 
down at - - - 8 ,, B 

up again at - - 8 ,, D 

41 



Tent Stitch 



down at - - - 9 and C 

up at - - - 8 „ E 

to commence 4th row 
down at - - - 9 ,, D 

under two threads hori- 



zontally to 



D, and so on. 



I 234567 89 10 



Gros Point" 




l 5T Method 



2 Nt Method 



Fig. 11 

Fig. 11. — "Gros Point" is a stitch somewhat 
similar in appearance to Tent Stitch, but is differently 
worked. It may be executed as shown in Fig. 11 or 
like an ordinary Cross Stitch, of which there are two 
stitches in the lower corner of the same illustration. 
To work Fig. 11 commence by bringing the needle 
up into the line : — 

2andB 
take it across the canvas horizontally as far as necessary, 
in this case to 10 and B 



42 



3 and C 

5 „ A 
5 „ C 

.. A, and so on, 



»> 



proceed in the same way for each alternate row as " Gros Point" 
indicated by the red lines, then 

bring it up in the hole 

put it down into - 

bring it up again in 

down at 
For the second method, Cross Stitch :— 

Bring up the needle in - 5 and L. 
and working towards the left, 

down at 

up again at - 

down again at 
On the return journey, 

Up at - 



3 and J 

3 „ L 
1 .. J 



>? 



down at 
up at - 
down at 

3 4 5 6 7 fi 




Fig. 12 



1 and L 
- 3 „ J 
3 „ L 

5 ,, J, and so on. 

In working both this and 
Tent Stitch great care must 
be taken to keep the stitches 
always sloping in the same 
direction to avoid the un- 
even, rough appearance 
which occurs when some 
stitches slope towards the 
right and some to the left. 

Fig. 12. — Another stitch Gobelins 
which is seen in the Stitch 



43 



Gobelins 


" Hat ton Garden " Panels may be 


worked either hori- 


Stitch 


zontally or vertically. If the former, commence by : — 




bringing the needle up through 






the canvas at the hole 


8 and E 




down again at 


7 „ A 




up again at - 


7 „ E 




down at 


6 „ A 




up at - 


6 „ E, and so on. 



Diamond 
Daisy 



1 and A 



If executed vertically, the work must be done from 
the bottom to the top, or the whole may be turned with 
the top of the canvas towards the worker, who will stitch 
away from top to bottom. In this case begin by : — 

bringing needle up at 

down at 

up at - 

down at 

up at - • - 

down at 

Then turn the work 
round and return by the 
same method. 

Fig. 13.— The next 
illustration represents a 
stitch forming a series of 
small holes surrounded bv 
radiating lines like a daisy, 
the plan being diamond- 
shaped. 



2 


„ E 


1 


„ D 


2 


„ H 


1 


„ G 


2 


,, L, and so on. 


i 


4 5 6 7 8 9 : 




44 



4 and U 




Diamond 


4 , 


, A 




Daisy 


4 , 


, 13 






3 , 


, B 






4 , 


, D 






2 


, c 






4 , 


, D 






1 , 


, D 






4 , 


, D 






2 , 


, E 






4 , 


, 13 






3 , 


, F 






4 , 


, D 






4 , 


, G, 


and so on 





A 

B 

c 


E 
F 
G 
H 
J 



Bring the needle up at 

down at 

up again at - 

down at - 

up at - 

down at 

up at - 

down at 

up at - 

down at - 

up at - 

down at 

up at - 

down at 

to complete the pattern. Take the thread across 
to the hole 7 and A, and commence the next pattern 
by putting the needle down into 7 and D, and continue 

to complete the second 
pattern, taking the needle 
afterwards across to 10 and 
D, and so on. In passing 
from one pattern to 
another, care must be 
taken that the connecting- 
thread does not pass 
immediately beneath the 
centre holes, or it will be 
observed from the front. 



7 S 




^KW^/iK^! 



■ US 



*FMl& 



a 



Fig. 14 



45 



Square Daisy Fig. 14. — This is a 


similar 


stitch 


to 


the preceding 


one, except that the 


plan is 


a 


square 


instead of a 


diamond. To work it : 


— 












bring the needle 


up 


at 


3 and C 


down at 




- 


- 


o 


•>> 


A 


up at - 




- 


- 


3 


n 


C 


down at 




- 


- 


4 


n 


A 


up at - 




- 


- 


3 


11 


C 


down at 




- 


- 


3 


11 


A 


up at - 




- 


- 


3 


11 


C 


down at 




- 


- 


2 


11 


A 


up at - 




- 


- 


3 


11 


C 


down at 




- 


- 


1 


11 


A 


up at - 




- 


- 


3 


11 


C 


down at 




- 


- 


1 


11 


B, and so on 


to complete the pattern 


i. 












Then proceed across 


! to 


- 


- 


7 


and C 


then to 




- 


- 


9 


ii 


A 


back into 




- 


- 


7 


ii 


C 


down at 




- 


- 


8 


ii 


A, and so on. 



After the little flowers are finished, each is outlined 
with a back-stitch worked in either horizontal and 
vertical rows across the canvas, or round each square, 
taking the needle into every hole, commencing, say, at 

1 and B 
down at - - - 1 ,, A 

up again at - - 1 ,, C 

down again at - - 1 ,, B, and so on. 

46 



Fig. 



15. — This might be called the u Encroaching " Encroaching 



Stitch and is worked horizontally across the canvas and Stiten 
back again. Commence by 



T 



2^56 



T 



A 

B 

C 



it mi im inn 



Ul IUI IUI I 

Mm 

I JHl JJ IkJ 



IUI IU 
IHUH 



H 
J 
K 



IM' iriBkJBBIBBB 



ui \um 

■ UHII 



llliT 



Fig. 15 



bringing the needle up at 1 and D 



down at 
up again at 
down at 
up at - 
down at 



1 
2 
2 
3 
3 



B 
E 
A 
D 

B, and so on, 



For the next row remember that the long stitches 
come under the short ones of the preceding row ; for 
instance, 

bring up the needle at 1 and H 
down at - - - 1 ,, D 

up at - - - 2 „ G 

down at - - - 2 ,, E, and so on. 



47 



CHAPTER IV 



Solid Shading. 



Solid Shading 



Block 
Shading 



Under this heading it is proposed to illustrate various 
kinds of shading, of no particular period or style, which 
are used in wool, flax or silk embroideries to com- 
pletely cover the space, and are distinct from fillings 
and open stitches. 

The method of working the simplest form, that 

which is called "Block shading," when a large space is 

to be covered, is invariably in what may be termed 

' rows," which are either kept distinct from one another 

or dovetailed in. 

Fig. 16 illustrates the first 
method, which is largely em- 
ployed in Chinese and some 
other Oriental embroideries. 
The rows are worked evenly. 
Starting from the left-hand 
side of the outside in the 
illustration, being very care- 
ful to cover the tracing lines, 
put the needle up at A, down at B, up at C, down at U, 
etc., and continue in the same way for the other rows. 

Where a large ground is to be covered, the stitches 
must just touch each other without overlapping, 

48 




Fig. Hi 



Turn over 
in 2 rows of 
shading 




Fig. 17 



Fig. 17 represents the most largely used of all 
solid shadings, often called "long and short," which in 
former days was called "Feather Work," because, when 

properly executed, it would 
appear as smooth as the 
feathers of a bird's breast. 
Most of the Italian silk 
work of the late sixteenth 
and of the seventeenth 
and eighteenth centuries, as 
well as the English, French 
and Spanish of the same 
periods, are worked in this 
wav, as is also a great deal of the modern embroidery 
of commerce. The lines should follow the natural 
shading of a leaf or flower ; for instance, supposing 
a naturally shaded drawing of a plant were made, 
the lines in the needlework should be identical with 
those of the shading. If uncertain as to what 
direction the lines in a leaf should take, hold a 
natural leaf up to the light, when the " backbone ' 
in it will be observed, with numerous small veins 
running into it — the general direction of these veins 
will indicate that which the stitches in the embroidery 
should take. 

Great care is needed in working what is called a 
" turn-over," in either a leaf or a flower ; the direction 
of the stitches in the turnover should be such that if 



1 'lock Shading 



Turn-over 



49 



Turn-over the latter were turned back, these stitches would follow 
on in the same direction as those of the rest of the leaf 
or petal. A good illustration of this is obtained by 
holding up the hand, palm foremost, forming, as it 
were, a leaf or petal, then bending the fingers forward 
to form the turnover — the fingers will indicate the 
direction of the embroidery stitches. (See Fig. 18.) 

Turnover 




Fig. 18 

Shading should always be commenced from the 
circumference of a design and continued towards the 
centre. Turn to Fig. 17 and note that the shading for 
a petal or flower with a turnover should be begun at 
A-B, and be worked towards the left with a long and 
a short stitch alternately downways towards the centre. 
Then go back to A-B and work the right side in the same 
way. In the first row, particular care must be taken 
with the outside edge, the stitches of which must be 

50 



perfectly even and must quite hide the marks of the 
tracing lines. Even supposing an outline or cord is 
added afterwards, a rough uneven edge cannot be 
excused ; indeed, it will render a perfect application 
of such an outline or cord quite impossible. 

The second row of stitches must commence under- 
neath A-B, but must overlap the first row as shown at 
C-D. Again long and short, or, at any rate, unequal 
stitches, at both ends this time, are needed, and the 
shading should correspond more or less with the outline 
of the petal or leaf. The number of rows of shading to 
be used is determined by the size of the piece to be 
covered ; the stitches should never be so long as to wear 

badly or run the risk of being 
pulled up. 

The last row of stitches 
should end in the centre, and 
where no distinctive stem is 
apparent they should dove- 
tail neatly into one another, 
leaving no spaces. 

The rule that the direc- 
tion of stitches shall follow 
the natural lines of the design 
applies equally to most kinds of solid shading, whether in 
feather Avork, darning, crewel stitch, chain, etc. 

When shading "solid "in Chain Stitch, the traced out- 
line must first be covered with a row of chain, A, B, 



Turn-over 




Shading in 
Chain Stitch 



51 



Shading in 
Chain Stitch 



C ; then the space inside must be filled with rows, D, 
E, etc., following the direction of the first until the 
centre is reached. 

The rows of chain must not be worked too closely 
or the beautv of the stitch will be lost — thev should 
just touch each other sufficiently to cover the ground. 

For Chain Stitch see Chapter V., Fig. 29. 



Shading in 
Crewel Stitch 



Shading in 
Feather Work 




The same method applies to shading in Crewel 
Stitch, Fig. 20. 

For Crewel Stitch see Chapter V., Fig. 24. 

In shading Feather Work there are two ways of 
working, one of which is by far the more durable and 
which has the better appearance. In this there is the 
same amount of silk on the back of the work as on the 
front. Many embroideries are seen where the bulk of 
the thread used is kept on the surface, which is called 

52 



in commerce " saving on the back." This is done by Shading in 
bringing the needle up quite close to where it went Feather Work 
down through the work, leaving only very tiny stitches 
on the wrong side. Although it is somewhat economical, 
the work never looks as well, nor does it last as long, 
as when the other method is employed for the shading. 

Both these shadings, as well as Satin Stitch, are 
particularly suitable for working with Floss Silk, and 
here is perhaps the right place to describe the way of 
threading it into the needle. If the silk thread be drawn 

between thumb and finger, 
it will be perceived at once 
that one way is smooth and 
the other is rough — thread 
the needle, then, so that 
the silk will draw quite 
smoothly from the eye of 
the needle to the end of the 
thread. Attention to this 
little detail makes a great 
difference to the ease in 
working, and prevents the 
rouohenincp of the silk. 

Fig. 21 illustrates the Solid Leaf and 
method of working a leaf Cord 
or curved petal in Solid Shading. The first stitch 
will be taken at the point of the leaf at A-B ; the left 
side of the figure indicates the method of shading, 




Fie. 21 



53 



Solid Leaf and and the lines on the right side the direction of the stitches 
Corcl in the rows. The outside edge of the right side shows a 
sewing down or couching of cord to form an outline. 
The end of the cord is first put through the material 
according to the method depicted in Fig. 22. A needle 
is taken sufficiently large to make a hole for the cord to 
pass through ; the needle is threaded with a piece of 
stout thread doubled, as in Fig. 22, to form a loop 
which is passed over the end of the cord, pulling it 
through the material. In workrooms this loop is 
called a " bout." A finer needle, with a suitable 
"Bout" thread, is then used to over-sew the cord at regular 




Fig. 22 



and fairly close intervals. The over-sewing stitches 

should be placed in the same direction as the cord is 
twisted ; for example, supposing the cord twists from 
left to right, Fig. 21, C, the needle should be put up on 
the left-hand side of the cord, D, and down on the right- 
hand side, E, otherwise in pulling the over-sewing thread 
tight, the cord will untwist. Special care should be 
taken to observe this rule in sewing on Japanese Gold, 
which will be mentioned in Chapter X. 

54 



Another very easy and quick method of Solid Shading Italian 
is what is known as Italian Laid Work. ^aid Work 




Fig. 23 

Fig. 23 shows two of the most common ways of 
executing it. 

55 



Italian On tlie left-hand side of the leaf, the stitches, which 

Laid Work are black, A, are first laid across the leaf horizontally 
backwards and forwards, on the surface of the material, 
exhibiting on the back tiny rows of stitches on the 
outside edge and down the centre of the leaf. These A 
stitches, which are long, are then to be tacked down 
with a couching thread, B, for which purpose two 
needles are used, as in the illustration, one threaded 
with red, marked B, and one with white, marked C. 
These red stitches follow more or less in parallel lines 
with the direction of the centre stem of the leaf, and 
are laid across the horizontal threads A. 

The stitches which tack these down, C, must be 
put as shown in the figure in what may be called 
" bricking" ; that is, the tacking down stitches in the 
first and third rows should be underneath each other, 
with those of the second and fourth rows between 
them, and so on. 

On the right side of the leaf, the first layer of shading 
follows the curves of the design, while the couching 
threads are laid horizontally at right angles to the first 
layer. This latter is the method usually employed 
where two or more colours are used to shade the leaf. 

Other methods of securing the laid threads are 
with Chain Stitch instead of couching, or Split Stitch, 
or occasionally with Stem Stitch. 

The colour of the couching thread has much to do 
with the general effect of the work, and a rather useful 

56 



hint is to have its tones about the same depth as the Italian 
middle shade used in the work, if the lightest shade be Laid Work 
used it Avill not be visible with the lightest colours, very 
little with the middle tones, but will give distinctly 
hard lines on the darkest. The reverse will be the 
case in the event of the darkest tone being used for 
couching. Some of the old pieces of work are 
couched either with gold thread or with some 
nondescript colour which harmonises with the other 
colours used. 

All laid work requires the finish of an outline or 
edging, either of cord or silk, a metal thread or a braid 
(see Chapter XIII. , Fig. 80 also Fig. 21), otherwise the 
edge of the work has an untidy, unfinished appearance. 
The best silk to employ for Laid Work is Floss, and 
great care must be taken in laying it down to 
keep it untwisted or the gloss and beauty will be 
entirelv lost. 



57 



CHAPTER V. 



Crewel Work 



Crewel or 
Stem Stitch 



Outline Stitch 



Old English Crewel Work. 

Although the stitches used in this class of work are 
very numerous, it is impossible in a book of this size to 
illustrate very many of them, therefore combinations 
of stitches have been aimed at rather than individual 
specimens. 

Most of the stitches described are to be found upon 
a piece of work which is numbered T 38, 1909, in the 
Victoria and Albert Museum. 

Fig. 24 represents Crewel or 
Stem Stitch. To work this stitch 
commence by 

putting the needle up at A 

down at - - - B 

up again at - - C 

down again at - D 

and so on, always keeping the 
thread towards the right - hand 
side of the needle. Crewel Stitch 
is largely used for Solid Shading 
(see Chap. IV., Fig. 20), and also in conjunction with 
many other stitches. 

A second stitch, very like Crewel, is Outline Stitch, 
the difference being that the thread is always kept to 

58 




Outline Stitch 



the left-hand side instead of to the right-hand. To 
work this stitch, turn to Fig. 25, and commence by 

bringing the needle up at A 
down at - - B 

up again at - - C 

down again at - D, 
and so on. 
An examination of Fig. 25 will show that 
the stitches twist into each other to form, 
as it were, a sort of smooth rope, whereas 
in Fig. 24, the stitches, although lying 
quite closely side by side, look distinct 
from one another. The reason for this 
difference is that the stitches forming Out- 
line Stitch are placed in exactly the same 
direction as the twist of the thread which is employed 
(wool or silk). 

Other stitches used in Crewel Work are the Solid 
Shadings illustrated in Chapter IV. 

Fig. 26 shows another form of Solid Shading in Looped 
which the thread used is almost entirely kept on the Shading 
front of the work. It is made by working a row of 
Satin Stitch for Row 1, which is 
the outside of the leaf or flower: — 
Put the needle up at A 




Fig. 25 



down at 

up again at - 

down again at 



B 
C 

D, and so on. 




Fig. 26 



59 



Looped For Row 2, start by putting the needle up at E, and 
Shading without again piercing the material, slip it through 

the base of the two stitches at G and F, and continue 

in the same way. 

When finished, the rows of stitches will be 
quite close together, forming a solid shading, as 
illustrated at H; it will not, however, give such 
a smooth and flat surface as that shown in Fig. 16, 
Chap. IV., where the stitches are all taken through the 
material. 

Fig. 27 is practically a Double - Herringbone, 
and is made by taking the stitches in a direction 
away from the worker, putting each stitch over 
the preceding one to make a kind of plait or 
trellis : — 



Put the needle up at A 



Herringbone 
Plait 



down at 
up at - 
down at 
up at - 
down at 
up at - 
down at 
up at - 
down at 
up at - 




60 




A 
B 
C 

D 
E 
F 
G 
H 
J. etc. 



Fig. 



Chain Stitch 



the 



oldest A stitches 



Fig. 28. — Cretan Stitch is worked on four lines of Cretan Stitch 
tracing (either actual or imaginary). Begin by 

putting the needle up at 
down at - - - 

up again at 
down again at - 
up at - 

down at - - 

up at - 

down at - - - 
up at - 

29 is Chain Stitch, which is probably one of 
of which there is any worked 
record. It is made upon a single 
line of tracing, by putting the 
needle up at A, holding the 
thread down under the thumb, 
putting the needle down through 
the material again at A. bringing 
it up at B, holding the thread with 
the thumb as before, putting the 
needle down at B, up at C, and 
so on. The stitches on the back 
should be all of one size, in a perfectly even row, like the 
back-stitching of plain needlework. In working a chain, 
the needle should always be put down through the 
material on the right side of the hole at which it came 
up, otherwise the stitches will appear to be twisted. 



Fig. 29 




61 



Knot Stitch 



Crewel and 

Link Stitch 




Fig. 30 is the simplest of Knot 
Stitches and is worked in a similar 
way to Chain Stitch, except that 
instead of putting the needle down 
through the material in the same 
hole at which it came up, it should 
be put down over the thread at 
the left-hand side a little lower 
than the preceding stitch. This 
is also worked on one line of 
tracing. 

Put the needle 
up at - A ; 
holding the loop of the thread under the thumb, 

put it down at - B 

up again at - - C ; 

holding the loop again, 

put it down at - D 

up at - - - E, 

The spaces between 
the knots should be 
equal in size to that 
of the knot itself, 
which is regulated by 
the thickness of the 
thread used. 

Fig. 31 illustrates stitches suitable for the outside edge 
of a leaf or flower, which are worked on two parallel lines 

62 



and so on. 




Fig. 31 



of tracing. Commence with the part printed in red Crewel and 
in the centre : — Link Stitch 

Bring the needle up at A 
down at - - - B 

up at the centre point C ; 
catching the thread A-B, making a V-shaped stitch, 
put it down at - D 

up again at - - E 

doAvn again at - F ; 

repeat for the third stitch, afterwards proceeding in 
the same manner for the next group of three, and 
so on. 

The two outlines are in Crewel Stitch, as explained 
for Fig. 24, and the little detached stitches are made 

in the same way as a Chain 
Stitch, except that they do not 
form a continuous line. For 
these : — 

Put the needle up at A 
down again at - B, 
and tack down the loop thus 
formed, with a little stitch com- 
ing up at C, down at D, and so 
on. 

Fig. 32 illustrates first a row of 
Crewel Stitch for the outside line 
at A ; then a row of Chain Stitch for the inside 
line of the border at B. 




Fig. 32 



Crewel, Chain 
and Link 
Stitch 



63 



Crewel, Chain 

and Link 

Stitch 



Oriental 
Stitch 



C 

D 
E 

F, and so on. 



On the outside of line A, a number of slanting 
stitches are put to break up its hardness. The method 
of working- these is by : — 

Putting- the needle up 

through the material 
at - 

down at - 

up again at 

down at - 

The same stitch is seen on one side of the row of Chain, 
13, except that in this case the stitches are not so long- 
as are those at A, and they are also placed more closely 
together. Between the two straight rows are detached 
stitches, G, which are worked 
in exactly the same way as in 
Fig. 31 . 

Fig. 33x illustrates what is 
usually called Oriental Stitch, 
but sometimes Roumanian Stitch. 
This is very much used in Crewel 
work for stems, outlines, etc.. 
and is worked from left to right, 
generally over a double row of 



tracing. 




8FKJ 



petal 



or 



Via. 33x 



Where the entire 
(lower is to be filled in with Oriental Stitch, the method 
as shown in the illustration may be used, when 
the stitches are alternately long and short, on one 



64 



edge; if, however, it is used for a stem, the stitches Oriental 
are of necessity all of one length, and the two edges Stitch 
are even. 
To work the Stitch :— 

Put the needle up at H 

down at - C 

up at - - - I) 

down at - - E 

up at - - - F 

down at - G 

up at - - - II 

down at - - J 

up again at - K, and so on, 

keeping the thread always to the right-hand side. 




. • Fig. 33y 



Fig. 33 y shows " Laid Oriental Stitch," which is Laid Oriental 
used for filling a larger space than would be practicable Stitch 

33x ; in this, the long stitches 

G5 



with method in Fig 



Laid Oriental are tacked down more than once, sometimes as many 
Stitch as fi ve or s j x times. 

Working it in the same way as in Fig. 33x :— 
Bring the needle up at M 
down at - - N 

up at - O 

down at - - - P 

up again at - Q 

down again at - - R, and so on, 

keeping the thread to the right-hand side, as before. 




Trellis Filling 



Fig. 34 



Fig. 34. — This shows a Trellis Filling, which is made 
by first laying down stitches at even distances apart, 
and parallel with one another. 

Bring the needle up at A 

down at - - B 

up at C 

down at - - - D, 

66 



and so on till the space is filled. Now repeat this in Trellis Filling 
the opposite direction at right angles to the stitches 
already worked : — 

Bring the needle up at E 
down at - - - F 

up at - - - G 

down at - - - H. 

At this stage there will appear long lines crossing each 
other at right angles, fixed only at the two ends to the 
ground material ; these long lines are now secured by 
tacking them down with cross stitches at the inter- 
sections : — 

Bring the needle up at J 

down at - - K 

up at - L 

down at - - - M 

up at - - - N, 

and so on, until all the intersections have been worked 
over. 

For the diamond-shaped pieces in the centre of each 
little square, proceed as for Satin Stitch in Fig. 44x> 
Chapter VI., omitting the padding and commencing 
with the centre stitch O-P and working to the left ; 
return to the centre stitch and work the right side, 
taking care to put an equal number of stitches on 
either side of the centre one O-P. 

67 



Double Coral Fig. 35. — This is a sort of Inter-lacing Coral Stitch, 

Stitch w hich is made by : — O^ b ^ n 

J 




Fig. :35 



Bringing the needle up at 

throwing the thread to the left-hand 
side, and putting the needle down at 
leaving a loop of the thread under 
the thumb, and bringing the needle 
up at - 
holding the loop under the thumb, as before, 
putting the needle down at 
up again at - 
throwing the thread to the right-hand side ; 
the loop under the thumb, 

putting needle down at - 
up again at 

G8 



B, 



C, 

D 
E, 

holding 

F 
G, 



and so on, working alternately to the left and right- 
hand sides. 

Re-commence for the second row by 

Bringing the needle through the material 
up at ------ H 

down at ------ J 

up at ------ K, 

then pass the thread under the line - E-G 

put the needle down at - - - L 

up again at M, 

and so on, working alternately from left to right. For the 

small stitches, X-O-P, etc., a fresh thread must be taken. 



Double Coral 

Stitch 






B 



Fig. m 



Fig. 36 shows a French Knot, which is made as French Knot 
follows : — Illustration A represents the first stage, 
B the second, and C the completed knot. 

69 



French Knot 



Bullion Stitch 




Bring the needle through at D, holding the thread 
loosely down under the thumb at E, twist the needle 
in the thread from left to right, as at F, being careful 
not to take up any of the back- 
ground. 

Now turn the point of the 
needle round, as shown in B, 
still holding the thread down 
under the thumb, put the 
needle down through the 
material, at G, and pull the 
thread tight. 

Should a large knot be re- 
quired, it is better to take a 
larger needle and thicker thread 
than to twist the thread twice 
round the needle. 

The French Knot is used 
very frequently in Old English 
work for centres of flowers, acorn 
cups, berries, etc., and also for 
other purposes in combination 
with many other stitches. 

Fig. 37 illustrates Bullion 
Stitch, which is made on some- 
what the same principle as the French Knot. Again 
A shows the first stage, B the second, and C the com- 
pleted stitch. To make the stitch : — 

70 




Fig. 37 



Put the needle up at - - - D ; Bullion Stitch 

take the needle back as far as the 

required length of the stitch to G ; 

put it through the material bringing 
it up again at - - - D, 

where the thread originally came through. Do not 
pull the needle through, but leave it sticking in the 
material, as shown in A. Then twist the thread round 
the point of the needle, from left to right, a sufficient 
number of times to fill the space E-D. Hold the thread 
which is twisted on the point of the needle quite firmly 
under the thumb whilst pulling the needle through in 
the direction of F ; take up the thumb and pull the 
thread in the direction of E, as shown in illustration B • 
now put the needle through again at point E, and the 

stitch is complete as 
shown in C. 

Fig. 38 shows Berry Berry Stitch 
d Stitch, which, when 
complete, makes a 
little raised cone- 
shaped berry, as shown 
k in the section at B. It 
is essential that the 
foundation for this 
stitch should contain 
(5, 7 or more) of "spokes," 
which should lie loosely upon the surface of the 



SPOKE' 




Fig. 'M 

an uneven number 



71 



Berry Stitch material, and upon these " spokes ' the " web ' is 
worked. 

The red line in the Figure shows the tracing of the 
outside of the berry. Commence by bringing the 
needle up through : — 

The edge of the tracing at A 
down at - - - B 

up at - - - C 

down at - D 

up at - - - E 

down at - - - F 

This will give three stitches crossing one another 
unevenly over the berry, and touching the ground 
material only at the tracing line. In order to get an 
uneven number of " spokes," now bring the needle up 
again through the material at G ; turn the needle 
round, using the eye instead of the point, and pass it 
underneath the crossed stitches at their point of inter- 
section, H, bringing it out again at J, to gather all the 
spokes into one centre. Still using the eye of the needle 
for the weaving of the " web," 

Pass it under spoke F 
over spoke - - C 

under - B 

over - - - G 

under - - E 

over - - - D 

under - - A, etc. 

72 



In working this stitch care must be taken to keep the Berry Stitch 

thread constantly tightly drawn up towards the centre 

of the berry, to lift it away from the ground material 

and to form the little cone as described. Continue to 

work under and over the spokes until the circumference 

of the berry is reached, and the spokes are completely 

covered. For a small berry it will be unnecessarv to 

add an outline, but for a large one, such addition in 

Chain or Outline Stitch will give a tidier appearance. 




h 



Fig. :3») 



! 



i 
I 
I 

: 
i 

J 



Fig. 3<). — This shows a stitch taken from a piece of Braid Stitch 
embroidery executed by Mary, Queen of Scots, and 
which was given to the author by a lady in whose family 

73 



Braid Stitch the work has been kept as an heirloom. It is a good 
example of an inter-laced Braid stitch, and is worked 
in four parts. 

Commence by making a rather coarse Chain (see 
Fig. 29) from A to B ; return to point A, and taking a 
second thread of a different shade or colour, bring the 
needle up through the material at A, and under the 
right side of the second chain stitch at C ; take it over 
the point of intersection of the first and second chain 
stitches, down under the right side of the chain stitch 
No. 1 at D, pass the thread across and under the right 
side of chain stitch No. 3 at E ; under the right side of 
chain stitch No. 2 at F, and so on down the right side 
of the centre chain. 

Then return to point A, and repeat for the left side 
of the centre chain, in the same way. 

The inter-lacing thread should be left loosely at 
either side. Now take another thread and tack down 
the inter-lacing thread with stitches at G, H, J, etc., 
on the right side, repeating for the left side. This 
Stitch, if used for a stem, is completed with a row of 
outline on either side, as at K-L. 



74 



CHAPTER VI. 

Marking and Lettering. 

IN this chapter two different methods of Marking are Marking 
explained, either of which is equally suitable for 
house-linen and wearing apparel. It is very essential 
to good marking to see that the back of the work is as 
neat as possible, and that, except where quite unavoid- 
able, the thread is not taken from one part of the design 
to another ; each little piece should be separately 
finished off. Knots must never be used in marking, 
but a new thread may be commenced either by running- 
it under a few stitches on the back of a part which 
is already worked, or by oversewing it in with the 
embroidery. Fastening off, too, may be neatly done 
by running the end of the thread into a part of the 
ground which will afterwards be covered with the work, 
or by taking it through a little bit of that which is 
already finished. The thread should always be cut 
off quite closely, and no untidy ends should be left. 
In some kinds of Marking, notably Chinese and Japanese 
embroidery, the work has the same appearance on the 
back as on the front, and is worked flat. 

Cross Stitch may be worked quite conveniently in 
the hand if desired, but professionals almost always 
put it into a Ring Frame as it is considered easier to 
count the threads when the material is stretched. 



to 



Cross Stitch The first method of Marking described is Cross 

Stitch, which requires but little technical skill, and an 
example of this style is here given. 

Fig. 40 illustrates two letters of the alphabet. 
There are several little printed books of Cross Stitch 
Alphabets to be procured, and to successfully carry 
these out in needlework, the student only needs to 
count the stitches very carefully, and to work over one 
or more threads of the material to be marked. 

In order to be sure of getting the work in the right 
place, first find the exact centre of the space into which 
the letters are to be put, and mark it with a pin. Then 
to calculate the centre stitch of the letters, some of 
which will be larger than others (M is a double letter 
and L a single), count the stitches contained in their 
full width and height, and not the letters themselves. 



Fig. 40 




This is explained in Fig. 40. The greatest number 
of stitches in the letters M-A, horizontally, is from 1 to 
41 ; this includes a space of one stitch between the 

76 



letters, as shown at A. In working- the two letters, Cross Stitch 
therefore, a width of 41 stitches should be allowed, of 
which the centre stitch is No. 21. Now take the stitches 
from B to C, vertically, and it will be found that they 
number 15, of which the centre one is shown at D. 
The exact centre of the letters M and A will be at point 
E, which indicates the second stitch to the right in a 
line with D. The point E coincides with the pin in 
the centre of the material, so that, to arrive at D, two 
stitches to the left must be counted. To commence work- 
ing- from the centre and proceeding towards the left, then 
returning to the centre and working towards the right, 
will be found the easiest way for a beginner to get the 
marking in the right place. When, however, the student 
has become accustomed to working the different stvles 
of letters, they may be embroidered in a line towards 
the right, in the same order as they would be written. If the 
marking is to be done in a coloured thread, care must be 
taken to see that the cotton or linen thread is "ingrain," 
otherwise it will fade with washing. The thickness of the 
thread depends upon the size of the stitches and the 
texture of the ground material. A fine material must be 
marked with a fine thread and small stitches, and vice 
versa, and each crossed stitch must touch the next to it. 
To execute the letters shown in Fig. 40. begin by :— 

Putting the needle up through 
the material at - - F 

down at G 

up at - - - - H 

down at - - - - J 

77 



Cross Stitch 



up at 
down at 
up at 
down at 
up at 
down at 



K 
L 
M 

N 
O 
P 








6 



crossing each stitch in the same direction. Proceed 
in this manner until the whole letter is finished. 
White For white embroidery, two methods of working are 

Embroidery adopted : (1) The 
ground material is 
kept taut in a ring 
frame, or (2) the 
material to be 
marked is sewn upon 
a piece of toile ciree 
or American cloth, 
or so metimes- 
leather. To do this, 
first bind the toile 
ciree or whatever 
backing is used, with 
tape or ribbon to 
keep it neat ; tack or bast on to its right side the material 
to be marked A, with fine cotton B, taking care to place it 
exactly at right angles on the toile ciree, otherwise the 
lettering will be crooked when finished, and will remain 
so to the end of its existence (see Fig. 41). 

78 



Toile ciree 



Fig. 41 



After tacking the material to its backing in this way, 
make a second tacking C all round and between the 
letters or design, but avoid taking any stitches across 
the tracing lines so that they may not be sewn in with the 
embroidery. After the work is completed, the tacking 
stitches C and B will need to be cut at the back and pulled 
out carefully. For very fine muslin work a fine cotton 
(about No. 200) must be used to tack the ground on to the 
toile ciree, in order to prevent the damage to the material 
which would be the result of tacking with a thick cotton. 
Fig. 42 shows two letters worked in simple Outline 
Stitch, that is to say, the Outline Stitch of Marking 

or White Em- 
broidery, which 
must not be con- 
fused with that 
of Crewel Work. 
Commence with 
a fine running 
stitch over the 
tracing lines of 
the design, 
taking up only 
a very small portion of the material on the needle, 
leaving the greater part of the running thread visible 
on the front (see A) ; then oversew this outline with 
little stitches placed close together, taking a tiny piece 
of the ground material up with the outline thread, at 

79 



White 
Embroidery 




Fig. 42 




White 

Embroidery 



each stitch. In the illustration, the letter J has the 
outline run in first and then the oversewing stitches 
are begun at B. These oversewing stitches must in all 
cases be at right angles to the line they cover ; this is 
shown in Fig. 42 at the curves of the letters C-D-E, 
etc. Marking of this kind must be done with the 
stitches lying quite closely together, and the same amount 
of material should be taken upon the needle at each 
stitch, so that both edges may be very neat and precise. 

If a thicker outline is needed, a second thread may be 
twisted in and out of the running stitches before the over- 
sewingiscommenced(seeF); sometimes even a third thread, 
twisted in like manner, may be required, but in this case it 
should be inserted in the opposite y 
direction to the x 
second thread. 

Fig. 43 repre- 
sents a monogram 



in which the letters 
are worked in two 
different styles, 
the better to dis- 
tinguish them. The 
letter D is done 
in Outline Stitch 
similarto that used 
for Fig. 42. The 
little designs, A, 
between the outlines are Evelet Holes, and are executed bv 
making a very small hole with a stiletto, then sewing round 




80 



c 

D 
C 

E, and so on. 



the hole with a number of tiny stitches taken very closely 
together into the centre, as at B. The needle is always : — 

Put down through the 

hole at 

brought up again at 

down again at - 

up at - - 

The centre part of letter A (marked 
F) is made with a number of small 
stitches commencing at the bottom, 
as shown in the small illustration 
marked X. 

Put the needle up at 

down at - 

up at 

down again at 



White 
Embroidery 




Fig. 43x 



A 
B 
C 
D. 



and so on. 

For the return journey it is perhaps better to turn the 
work round, taking the stitches in exactly the same 
way, being careful to put the needle down precisely 
into each hole of the 
previous row, and 
to pull the thread 
tightly. The stitch 
when completed 
should show a 
number of tinv 
holes at even dis- 
tances apart. Fig. 43y 

The method of working the little design G at the 
top and bottom of the letter is shown in illustration Y. 































uW --^3/ 


















3teS? *ff~^. 
















-; —J JT^iTTi 












S|ii 




^/,J 


Br\ iff 
safes, ^fiili 


9\_li0l 










fin 


1 ' A^Ub 


w\_ ja 


nrk 1 1 Pi 


IrTrli^T: 


US! 


F* 





y 



81 



White 
Embroidery 



This pattern is worked diagonally in little " spots ' as 
it were. No threads are drawn out, but they are pulled 
together with the oversewing stitches, leaving small holes, 
alternating with small blocks of the ground material. 
Put the needle up at - - A 

down at - - - - B 

then cross-wise underneath four threads of the material, 







bringing it up again at - 


- 


C 






down at - 


- 


D 






cross-wise again underneath to 


E 






down at 


- 


F 






up at - 


- 


G 






down at 


- 


H 






up at - 


- 


J 






down at 


- 


K 




and, foi 


the return journey : — 










Put the needle up through the 








material at 


- 


L 






down again at 


- 


M 






up at - - 


- 


N 


~- 




down at 


- 


O 






up at - 


- 


P, and so on. 




When 


complete, the whole letter 


is 


outlined with 


Back- 


Back-Si 


itching, as in plain sewing : — 






Stitching 




Put the needle up at 

down at 

up at - 

down again at 


H 
J 
K 
H 








up at - 


L, 


and so on, 




taking 


care to make the stitches all 


of 


one size, and 




leaving 


no spaces between them. 







82 



Fig. 44 i 1 lustrates Satin Stitch in con j unction with Fancy Back- 
stitches. Forthe plain part or Satin Stitch proceed accord- Stitching 
ing to the method shown in detail in illustration 44x. 

f 

■:fil|l 



E — V. 




= e - = ^4 ,JJ 



e s = = 4? •• %•• 

Fig. 44x. — A shows the first layer of padding. After Satin and 
the outline H is finished, proceed to fill in the space Fancy 
with close layers of outline stitch J (see Chapter V., Stltches 
Fig. 25) until the whole part is covered; these outline 
stitches should not be taken quite as far as the outline 
H, but just inside the tracing line, and should follow 
the shape of the petal or leaf. The next layer of stitches 
shown in B at K must be taken on the top of those at J ; 
these are also outline stitches following the direction of 
those underneath them, but they must not be placed so 
far as to cover the outside edge of J. The third stage 

83 



Satin and 

Fancy 

Stitches 



of padding, shown in C, is yet another layer of stitches L, 

placed over the centre only of the K layer. These 

layers, if evenly worked, will raise the petal or leaf high 

in the centre, tapering 

towards the outside 

edges. Commence the L 

Satin Stitch, as shown 

at D, by : — 

the needle 



Bringing 
up at - 
down at 

up at - - O 

down at - - P 
up again at - - Q, 
and so on, until the 
whole of the padding 
is hidden, taking care 
always to cover the 

traced outlines and to keep the edges straight and tidy. 
The parts printed in black, in Fig. 44, represent 
" padded " Satin Stitch. In working a design (say, a 
flower in Fig. 44, marked A), commence with the out- 
lining ; then pad one of the petals B, working Satin 
Stitch over it in the direction of the lines given ; then 
proceed to the next petal C, and finish that one, and so 
on. If all the padding be completed before the Satin 
Stitch is begun, the masses of padding on either side of 
a petal or leaf will frequently interfere with the free 

84 




Fig. 44 x 



play of the needle and prevent the work from being 
done smoothly and well, except in the case of em- 
broidery in the frame. 

For all stalks and thin lines, proceed as for Fig. 42, 
in Outline Stitch, avoiding the slipshod method which 
is often employed for the sake of speed, where the stems 
are worked in ordinary Outline Stitch as for Crewel 
Work (see Fig. 25, Chapter V.). This invariably proves 
unsatisfactory, as the stems will quickly disappear after 
being laundered, while the rest of the work will remain 
good. 

The open stitches forming part of Fig. 44 at D are 
fillings similar to that shown in Fig. 43x. The little 
balls at E are worked first by padding them in the 

manner described for 44x, 
adding Satin Stitch in the 
direction of the lines at E. 

The filling used on the 
petals marked F is called 
i; Holing," and that on the 
leaves at G is called "Seeding" 
(see Fig. 44n), both of which 
are illustrated in detail. 

At H is a simple button 
holed bar, for the working of which see Fig. 64, 
Chapter XI. 

At J are French Knots, made according to the 
method shown in Fig. 36, Chapter V. 

85 




Fig. 44y 



Satin and 

Fancy 

Stitches 



Muslin 
Embroidery 



Open-Work 



CHAPTER VII. 

Muslin Embroidery. 

THIS, if properly executed, is a source of profit to 
the worker, and usually commands a ready sale, 
the revival of embroidery for collars, cuffs, trimmings for 
children's clothes, as well as for many household articles, 
having given much employment during recent years. 

It is a mistake to imagine that the work 
will be cheaper if done upon a bad quality of 
muslin or lawn, and with inferior cotton ; the 
very little difference in the cost between a good 
and bad quality of these is more than balanced 
by the added durability of 
the article when embroi- 
dered on good material. 

In choosingadesign(say, 
for a collar) to 
be executed by 
a beginner, let 
it be very sim- 
ple, and let the 
masses of open- 
work, if this be 
used, be as large as possible, tiny pieces of open-work 
being much more difficult to embroider. 

Fig. 45 is a copy of a pattern which was first 

86 




printed in 1740, and the parts marked I., II., III., Open-Work 

etc., are open work and correspond to Fig. 46. 

II J c ? Threads 




Fig. 46 

Fig. 46 illustrates the methods of working these, and, 
although there are, of course, many patterns of open 

87 



Open-Work stitches, those selected for description here may be 
regarded as typical stitches. The black lines in the 
figure indicate the threads of the muslin, while those of 
the working thread are printed in red. 

The threads of the ground material are not drawn 
out in any of these patterns ; they are simply sewn 
together. 

No. I. — In this the black lines represent two threads 
of the muslin, and the pattern is worked vertically and 
horizontally. A greater number of threads will be sewn 
together where a more open pattern is required. 

Commencing with a horizontal stitch, bring the 
needle up to A, take the needle under and over two 
threads making a stitch into each alternate hole of the 
muslin ; this will draw the two threads together as if they 
were one (see the illustration). On the return journey 
from B take the stitches in the opposite direction 
along the same threads so that they cross one another. 
Continue this backAvards and forwards for the requisite 
number of horizontal rows, and then proceed for the 
vertical stitches from C-D, etc., taking the stitches 
over two threads as before. 

No. II. — This is worked in a similar way to the fore- 
going pattern, but over three threads of the muslin in a 
diagonal direction instead of straight with the material. 
Commence by : — 

Bringing the needle up at A 
take it down at - - B 

88 



under the intersection of Open-Work 

3 threads each way and 
up at - - - C 

down at - - - D 

up again at - - E 

down again at - - F, and so on. 

The return journey is made as for pattern No. I., in 
the opposite direction : — 

Put the needle up at - G 

down at - - - C 

under the intersection of 

the threads and up at B 
down again at - - E 

under the intersection and 
up at - - - D 

down at - - - H, and so on. 

If properly worked the threads will appear pulled 
together in groups of three at the intersections, square- 
shaped holes being left between them. 

No. III. is a Zig-zag design worked vertically for a 
short distance, then horizontally, then vertically again, 
and so on. 

Commence at A, twisting the cotton over two 
threads of the muslin, working from left to right, and 
taking a little over- sewing stitch between every single 
vertical thread for a distance of about ^ inch, on the 
actual muslin, as far as B (or for a less distance according 
to the space to be filled). 

89 



Open-Work Then proceed vertically in the same way over two 

threads of the muslin, taking a stitch as before over 
every single thread horizontally, as far as C ; then 
proceed as at A, oversewing two threads horizontally 
again between each single vertical thread. The next 
and following rows are worked in exactly the same 
manner. 

No. IV. shows at A the single threads of the 
muslin, at B two threads sewn together, and 
the little red groups at C are intended to represent 
stitches taken over the solid muslin. To work the 
pattern : — 

Bring the needle up at - - D 

take it down horizontally over 4 

threads of muslin at - - E 

under 3 threads horizontally and 

up at - - - - - F 

over 4 threads and down at - G 
under 3 threads and up at - H 

over 4 threads and down at - J, and so on. 
One stitch only is made into the hole at F. 
The black line printed below F represents two 
horizontal threads of the muslin ; the hole below 
this, in which J is printed, has two threads 
worked into it ; the black line underneath it again 
represents two threads of the muslin, and the space 
marked K has two threads worked into again in like 
manner. 

90 



Now take the needle across, Open-Work 

bringing it up at - - - - L 
over 4 threads of the muslin down at M 
up at - - - - - N 

down again into the square marked K, and so on. 
After working the stitches as far as the next solid 
A block, take the needle down diagonally at O, and pro- 
ceed as before, in each block taking the needle diagonally 
across the muslin in order to prevent any of the stitches 
from being seen through the open work squares B. 

No. V. — This is a pattern worked in blocks over six 
threads each way, with the threads again divided into 
three each way. Commence by : — 

Bringing the needle up at - - A 

cross it over the intersections of 
3 vertical and 3 horizontal 
threads to - - - B 

twist it along the centre of the 3 

threads at C, bringing it up at D 
put it down over the intersection 

of the 6 threads at - E 

bring it up again at - - - F 

down at - - - - - G 

under the threads again at - H 

and up at - - - - J 

twist it along the centre thread, and proceed to the 
next block as before. All succeeding rows are worked 
in a similar manner. 

91 



•* 



Open-Work No. VI. — In this illustration the horizontal threads 

at A represent three threads sewn together, the vertical 
threads being single threads of the muslin. To work 
the pattern, commence at A, oversewing towards the 
left over three horizontal threads each time and over 
every single vertical thread. 

For the next two rows proceed in the same way, 
always over three horizontal threads. 

For the next part of the pattern, the insertion, 
commence by : — 

Bringing the needle up at - - B 

take it under 2 of the vertical 

threads and up at - - - C 

over 3 horizontal threads, down at D 
under 4 vertical threads, bringing 

it up at - - - - E 

over 3 horizontal threads, down at F 

under 4 vertical threads and up at G 

continuing in the same way until finished. For the 

lower half of the insertion proceed as before, but the 

position will be upside-down. 

The solid part of muslin embroidery is executed 
either with padding and Satin Stitch, as described in 
Chapter VI., Fig. 44x, or with close rows of Chain or 
Tambour Stitch (see Chapter IV., Fig. 19), and some- 
times with Stem Stitch, as described in Chapter IV., 
Fig. 20. The stems are worked as for Fig. 42, Chapter VI., 
and occasionally they may be met with in Chain Stitch. 

92 



The leaves are frequently done in solid shading on Open-Work 
one side, with open-work or seeding on the other. 
French Knots are sometimes used for fillings, but, as a 
rule, in the best antique embroideries of this class 
seeding stitches are employed instead, and these are 
preferable where the article is frequently washed. 

The six patterns here described are taken from the 
centres of daisy-like flowers which appear on an old 
embroidered gown. 

Returning to Fig. 45, the two flowers marked Y are 
embroidered as described in Chapter VI., Fig. 43y, and 
the two marked X like Fig. 43x. The remainder is in 
Satin Stitch padded, with the exception of the waved 
border, which is padded and buttonholed. 



93 



CHAPTER VIII. 

Applique or Applied Work. 

Applique F~ ~^HIS work, perhaps, depends more than any other 

_£. style upon the beauty and clearness of the design, 

and is particularly suitable for large hangings, or for 

pieces of work with bold effects to be viewed from a 

distance. 

For Applied Work it is seldom worth while to 
choose fine or detailed designs which could be better 
carried out in embroidery. The material chosen for the 
applique should be of sufficient firmness not to require 
pasting on the back, which has to be done where there 
is any risk of fraying from the edges ; where a material 
needs pasting, either fasten it face downwards on a 
board with pins, or frame it in an ordinary frame (this 
latter method must be adopted for velvet) ; then take 
a thin piece of muslin of the same size as the material, 
soak it well in white rice starch, slightly wring it out so 
that it is only moderately damp all over, stretch this 
muslin evenly on the wrong side of the material and 
gently press it down with a clean cloth so that it 
adheres smoothly everywhere. If the material which 
is to form the ground is not sufficiently strong to 
carry the work, it will need a backing; to do this, 
frame up a piece of linen or holland according to the 

94 



method shown in Chapter II., Fig. 6, and herringbone Applique 
the ground material on to it. On this is traced the 
outline of the design, slightly inside or smaller than 
the lines of the drawing. 

When the material which is to be applied is dry, 
fasten it to a board with the right side uppermost, and 
trace the design upon it ; now take it off the board and 
pin it to the lead sheet mentioned in Chapter II., and 
with the knife (Fig. 3) cut round the lines of the design 
very accurately, about one-sixteenth of an inch, or 
sometimes less, beyond the tracing lines. 




Fig. 47 1. 

Leave narrow connecting bars A uncut here and 
there in the material to keep the design from becoming 
disarranged. When the cutting out is completed, 
take up the applique with care to avoid stretching 
or fraying the edges, and place it over the traced 
design on the ground material, in such a way as to 
cover the lines completely, and secure it temporarily 

95 




Fig. 47 II. 

Take out the tacking 



Applique with fine steel pins B (see Fig. 47 n.). Turn again to 
Fig. 47 1. Then with a fine needle and thread tack 
it all over C, B, etc., afterwards cutting off the 
connecting bars A with a 
sharp pair of scissors. Now 
proceed with the sewing 
down of the centre first at 
E and then the edges 
of the design, using small 
stitches D, which will even- 
tually be covered with an 
outlining cord, or what not. 
threads C, B, etc. 

Great care is needed to keep the applique from 
puckering, and this is especially difficult when applying 
material to velvet, the pile of the latter often displacing 
the applique. It is always best to commence sewing 
down in the centre of the design, working away from 
that point in all directions (see Fig. 47 1, at E). If a 
flower form is to be applied, commence sewing down 
with a few stitches in the centre E, in a part over which 
the outlining thread will be put ; such stitches need 
not lie so closely together as those upon the cut edges. 

Referring to Fig. 47 1., it will be seen that the sewing 
down stitches are brought up just beyond the pattern 
at D, down again at F. 

After having sewn down the whole of the design, 
an outline is added either by couching with one or 

96 




more rows of cord at A, as shown in Chapter IV., Fig. 21, 
or with a thick strand of thread laid down (see Fig. at 

48 B), or with an edging of 
narrow braid, ribbon, or 
sometimes buttonholing. 
A The good effect of the 
work depends a very great 
deal upon the outlining ; 
the hard appearance which 
would be produced by a 
straight thread or cord may 
be softened by an ingenious 
choice of the over-sewing 
threads ; for instance, if a black outline is to be added, 
the colour of the couching thread may well be that of 
the ground material or of the applique, or, if preferred, 
quite a distinct colour, which harmonises with ground, 
applique, and outline, may be employed. 

In some of the antique pieces of work, quite beautiful 
effects have been gained with an applique of yellow and 
red, outlined with a putty-coloured cord, sewn down 
with blue. Applied designs are frequently further em- 
bellished with other stitches inserted in various parts, 
with sometimes an addition of spangles, jewels, etc. 

Unless the finished embroidery is to be mounted in 
a frame, it is better to use as little stiffening for the 
applique as possible, although an examination of antique 
work will show that paste was frequently used on the back. 

97 



Applique 



Applique 



B 



Velvet 
Satin underneath 
ready for cutting 




Fig. 49 



98 



A second style of what may be included under the Inlaid Work 
heading of Applique is Inlaid Work. In this a backing 
of linen or firm material is necessary, but the process of 
cutting out and applying the patterns is somewhat 
different. Inlaid Work is often used for what is known 
as a " Counterchange " design, in which every part of 
both background and pattern material is made use of ; 
what is left after cutting out the design carefully from 
the one is utilised for the background of the other, and 
vice versa (see Fig. 49). In this figure the background 
is indicated by the space between the lines E and F, on 
to which the other material is herring-boned. The 
materials employed in the original panel are velvet and 
satin, and, for the sake of illustration, the white part 
of the figure represents the velvet and the red part 
satin. Take a piece of each material of equal size, 
and proceed to stiffen them if necessary, according to 
the method given for applique ; then trace the design 
very carefully on the velvet. Place the satin face 
uppermost on the lead sheet, with the velvet face 
uppermost on the top of the satin ; fix the two pieces 
of material together firmly with strong pins driven 
into the lead at intervals all over, using fine steel instead 
of drawing pins, to avoid marking the material. In the 
figure, A shows the velvet surface under which the satin 
is laid on the lead block, and B shows the traced design 
on the velvet before cutting out. 

Now, with the knife, which must kept be very sharp, 
cut through both of the materials together without, in 
this case, leaving any of the little connecting bars men- 

99 



Inlaid Work tioned above for applique. When the cutting-out of the 
design is finished, take, say, the velvet ground and lay 
it carefully upon the linen backing, which is stretched 
in a frame ; now take the design which is cut out of the 
satin and " inlay " it into the velvet background. 

The second piece of satin which is left will form the 
ground into which the velvet pattern is inserted. 

Having fitted the satin into the velvet, proceed by 
tacking both of the materials down to the linen backing 
with small stitches overlapping the edges of both satin 
and velvet, as shown at G. The white tracing at H 
shows the rest of the design, which, in the original 
work, is filled up with a " true " applique of putty- 
coloured satin, applied either to the velvet or to the 
satin, as occasion demands, by the method described in 
the beginning of this chapter. When all the parts are 
firmly secured to the background, the outlining may 
then be done. This in the original work was formed 
with a double row of a smooth kind of cord called 
' guimpe," and is oversewn at frequent and even 
intervals with a silk thread J. The flowers and some 
of the leaves are further ornamented with darning in 
silk, and the position of some of the stitches are in- 
dicated at K. In couching an outline, care is needed to 
keep the shape and character of the design. In the 
figure, D shows a piece of the completed work. 

In some Inlaid Work the linen foundation is cut away 
after the couching is finished, leaving only narrow strips of 
the linen on the back, just where the outline of the design 
occurs. Frequently, however,the linen backingis left intact. 

100 



CHAPTER IX. 

Figure Embroidery. 

AS this can hardly be included under the heading Figure 
of Elementary Embroidery, it will be necessary Embroidery 
to merely touch upon it. 

In order to embroider a figure properly, it is abso- 
lutely necessary that the worker should study a certain 
amount of anatomical drawing, making if possible 
studies from life. Many people fall into the great 
mistake of thinking that such study is quite superfluous 
if a good coloured drawing is obtained to work from, 
or if a piece of grotesque or antique work is copied 
faithfully. As a rule, where anatomy is not understood, 
all the " life " of the work is lost, and there is as wide a 
difference between the original piece and the copy as 
there is between a sculptured marble figure and a 
plaster cast of it 

One of the oldest methods of working flesh is with Working 
Split Stitch, which is somewhat similar in appearance Flesh in 
to Chain Stitch. Fig. 50 shows both the stitch and Split Stitch 
the way of working it. Floss silk, which has a smooth 
untwisted thread, must always be used for this stitch. 
For the direction of the stitches, follow the lines of the 
features, which, if carefully done, will appear slightly 
raised; for instance, the cheeks will be rounded a little, and 

101 



Working the eyelids and noses will "stand out," forming just a 
Flesh in suspicion of modelling, and shading the face without 
p effort, and with the use of only one tone of the silk. 

Some people 
are of opinion 
that a small iron 
or instrument of 
some kind was for- 
merly used to pro- 
duce this effect, 
but from the 
worker's point of 
view this would be 
quite unnecessary, 
as in reality it is 
easier to arrive at 
it simply with the 
stitching. 

A second very 
simple way of working flesh is to fill in the space with 
long and short stitches (see Chapter IV., Fig. 17) in a 
vertical direction, leaving only the tracing lines of the 
features, which are outlined carefully afterwards in a 
darkish brown silk. If the Avorker has sufficient 
knowledge, the proper expressions may be obtained 
by this method. 

A third and most complicated style is to embroider 
the faces vertically with a considerable number of shades, 
102 




to imitate painting as nearly as possible. Frequently Working 
the design, now as in olden times, is quite elaborately Flesh in 
painted on to the grounding linen, and is merely worked Split Stitch 
over in silk, with the colours and tones used in the painting. 

Hair in Crewel Work is often carried out in French Working Hah 
Knots or in Bullion Stitch (see Chapter V., Figs. 36 and 
37). If worked in Split Stitch or Long and Short (Solid 
Shading), the stitches must follow the direction of the 
lines of the hair, and should be commenced at the ends 
and finished at the head. This also applies to the work- 
ing of fur of animals and the feathers of birds, both of 
which should be commenced at the tail, finishing at the 
head, otherwise the stitches overlap one another in an 
opposite direction to that of the natural growth of the 
hair or feathers, and quite an odd effect of light and 
shade is apt to be produced. 

This is represented in many ways. First by Laid Drapery 
Work, as in Chapter IV., Fig. 23, the shading being 
usually vertical, and the couching threads horizontal. 

Secondly, by Long and Short (Solid Shading), as in 
Chapter IV., Fig. 17, the stitches being made to follow 
the direction of the folds of the material. 

Thirdly, by short vertical Encroaching Stitches 
similar in effect to that explained for Canvas work 
(Chapter III., Fig. 15), this has somewhat the regular 
appearance of weaving. 

Fourthly, as in Fig. 51, which is worked by laying down 
gold or silver threads, etc., with coloured threads following 

103 



Drapery the tones and shadings of the draperies. Commence at 
the top of the design, which should be traced most 
carefully on a linen ground, and work 
from A-B, top to bottom and back 
again C-D, and soon. Several needles 
threaded with the different shades of 
silkwill be in use at the same time. The 
couching stitches are placed close 
together in the darkest part of the 
shading, and less close as the lightest 
part is approached, and the different 
needles, threaded with the darkest 
shade of silk up to the lightest, are 
used as required. The high lights are 
generally represented by the laid 
threads being left bare as in the case of 
gold and silver, and only couched 
with a thread matching it in tone and 
colour, with as few stitches as possible, 
so that the shine of the laid threads 
may not be interfered with. 
Wonderful patterns to represent 
brocades and embroideries are 
often worked on the laid threads, 
and draperies are sometimes 
finished with added ornament 
and lettering at their edges. 
Draperies are also worked in 
Chain, Crewel, Knot Stitches, 
and sometimes in French Knots, 




104 



CHAPTER X. 

Gold Work. 

UNDER this heading is generally included work Gold Work 
in metal thread, of which there are many kinds, 
some of which are enumerated in Chapter II. What is 
technically known as " Military Embroidery" is also 
termed Gold Work, this, however, requires not only 
special training and a long apprenticeship, but is worked 
according to methods peculiar to itself, which cannot be 
touched upon here. 

Gold Work is most frequently used in connection 
with Ecclesiastical Embroidery in silk, etc., or for form- 
ing the background of work, in the same way that Fra 
Angelico employed a golden background for some of his 
paintings. In many such cases the ground threads are 
couched with colour in various patterns, and Fig. 52 
shows one of the simplest of these. 

The material upon which gold work should be done 
is for preference a strong linen, which is of a sufficiently 
close weave, with a backing of linen or holland, slightly 
coarser than that on the front. Where the whole of 
the ground is not to be covered, and the gold work is 
to be done directly on to a material like silk, the same 
backing of linen is necessary, the silk merely taking the 
place of that which in other cases would be on the front. 

105 



Gold Work With all heavy gold work, however, the method of first 
working upon linen and afterwards transferring to the 
silk, etc., is to be recommended. The tracing of the 
design, which should be drawn upon the front linen, 
must be very accurate and clear. The gold threads, 
if possible, should be wound upon a broche, which is 
described in Chapter II., Fig. 7. The broche should 
be prepared by winding round it a padding of soft 
cotton, which should afterwards be covered with wash 
leather or similar soft material sewn on so that it is 
readv for use with metal threads at any time. 

F G H J K L M 

C: l ^ 




Fiff. 52 



Flat Pattern 
Couching 



Fig. 52 explains the method of working. In this, A 
represents the tracing on linen. Commence the pattern 
at the top line B, taking the thread from B to C across 
the space to be filled with the laid gold ; make a sharp 
turn in the thread at D, pinching it close together at 

106 



the bend, and where the gold threads cross the tracing Flat Pattern 
lines stitches must be put in. In the line D-E, the Couching 
intersection of the gold thread and the tracing lines 
occurs at F-G-H ; then a space is left and the next 
intersections occur at J-K-L-M, and so on. The 
couching threads must always be put in a vertical 
position across the horizontal laid ones, regardless of 
the direction of the lines of the tracing, as will be seen 
from the few stitches illustrated at the bottom of the 
drawing at X ; if the couching threads were not placed 
at right angles to the laid threads, the latter would be 
pulled out of their correct position. 

Supposing that, as in Fig. 52, the pattern is a trellis, 
or one in which there are large spaces occurring in the 
laid part N, between the couching threads, these spaces 
will also need to be tacked down, for which purpose a 
silk to match the laid threads as nearly as possible 
should be selected, or one which contrasts distinctly 
with the first couching thread. This is only necessary 
where the spaces are too large to be left uncouched, and 
there is a risk of the laid parts becoming disarranged, or 
where a distinct feature is made by using different 
colours, as, for instance, a gold thread laid with a trellis 
of red, and the diamond-shaped pieces between, in green. 
The couching stitches in all these laid patterns must be 
put in at even distances apart and the position of the 
stitches must be as described in Chapter IV., Fig. 23, 
for " bricking." 

107 



Gold Stems 



Fig. 53 shows two methods of working stems. These 
are used in conjunction with silk embroidery, which is 
worked either in "long and short" Solid Shading, or in 
Laid Work, the stems in either case being sewn directly 
on the silk or whatever material forms the ground. 

A shows a simple 
form of couched threads 
placed close to each other 
to cover completely the 
space required. Each of 
the black lines represents 
one or two gold threads ; 
it is, however, more 
practical to sew down 
two fairly fine threads 
rather than one thick 
one, as the stouter the 
metal thread the more 
difficult it is to manipu- 
late, although the method 
of couching is the same 
in either case 

When working a stem, 
commence at the outside edge at B : — 

Put the needle up on the right-hand 

side of the thread at - C 

down at right-angles across the 
thread at - D 




Fig. 53 



108 



This stitch should be sufficiently long to allow of the Gold Stems 
threads lying side by side without any of the ground 
being visible between them, although it should not be 
drawn so tightly as to form what is called a " waist " 
(see Fig. 53 at Z). 

Continue in this way for the rest of the line, and for 
the return at E : — 

Put the needle up on the right-hand 

side at - - - - . F 

down again at right-angles to the 

thread at G 

taking a stitch very slightly under 
the line - - - - - B 

so that the line E is drawn close up to B without any 
of the ground being visible between them. 

For a Wider Stem H, five, more or less, of parallel 
rows of tracing will be required, with the stitches worked 
across them. Commence at J by putting the end of the 
thread down through the material with a " bout ' on 
the outside tracing line marked I. 

For working this and similar patterns it is necessary 
to prepare three needles, two stout ones threaded with 
well-waxed thread, and a third with horsetail silk, or 
whatever is to be used for the couching. Now take the 
broche, upon which is wound the gold thread, across to 
the left-hand side, and bring up the needle threaded 
with horsetail at K, on the tracing line 3, over the gold 
threads and down at L. Now bring up one of the needles 

109 



Gold Stems threaded with waxed thread at M, just beyond the 
tracing line 5 ; pass it over the gold threads and down 
again exactly in the same hole M, pulling it tightly so 
that a little loop of the gold is drawn through the hole 
to the back of the work ; this will bring the gold thread 
into its correct position for crossing again to the right 
side of the stem. Now bring up the same needle again 
at N, and leave it sticking in the frame ready for the 
next stitch on the left-hand side. 

Pass the broche to the right-hand side, and bring up 
the needle with horsetail at O, passing it over the gold 
thread and down at K, so that the gold thread is drawn 
close up to that in the previous row. Now bring up 
the other needle, with waxed thread, at P ; pass it over 
the gold thread, and down into the same hole as 
described above, making a little loop on the back as 
before ; bring the needle up again at Q and leave it 
sticking in the work ready for the next stitch on the 
right-hand side. Proceed in this manner from side to 
side for five rows of couching, securing the gold thread 
in the centre, and putting it through to the back of the 
material with a loop at either side, thus making a 
perfectly even and finished edge. For the following 
five rows the edges will be worked in the same way, 
but instead of couching the gold threads in the centre, 
place a stitch across each thread at the tracing lines 2 
and 4. Then repeat as for the first block of five, and 
so on. 

110 



Metal threads are often raised with, lines of string Padding 
laid down in patterns to increase the play of the light Gold Work 
on the threads, thus enhancing their beauty. 



e f 




3" Row 
4™ Row 



t 

8 7 6 5 4 3 

Fig. 54 illustrates a simple stitch taken over string, 
which should be either a fine cotton cord of the nature 
of piping cord, or a smooth flax string like macrame 
string. When working with gold thread it is usual to lay 
down a yellow string, and for silver either a grey or white. 

To commence, sew down the padding string quite 
firmly with waxed thread, as at A, afterwards proceeding 
with the sewing down of the gold threads, of which 
either one or two are taken together. In the case of 
Japanese gold, two threads are almost invariably sewn 
down with one stitch. 



Ill 



Padding Continue as for Fig. 53 by taking the threads across 

Gold Work f rom one s [^ e ^ the other, tacking them down at in- 
tervals in the exact centre between the strings. 
Commence by putting the end of 
the gold through the material 
with a " bout "at - - - B 

take the " broche " over to the 
right side, bringing the thread 
across strings - - - - 1 and 2 

bring up the couching needle at - C 
press the gold thread down with the 
melore (Chapter II., Fig. 8) to 
make a slight indentation, pass 
the thread over the gold and 
down at - - - - - D 

bring it up again between the strings 4 and 5 at E 
dent the gold threads again, and put 
the needle down at - - - F 

and so on. If the metal threads are very stiff, it is 
always better to take another tiny stitch with the horse- 
tail into the ground, after having made the couching 
stitch, to securely fasten the latter and to prevent the 
gold thread from " jumping up." Sometimes, where 
very coarse metal thread is used, the needle is passed a 
second time over the point E to F, and then secured 
with a tiny stitch into the ground. Continue as before 
for the rest of the row, and then to return, place the 
broche on the left-hand side, taking the threads over 
the same strings and couching them with little stitches 

112 



placed exactly underneath those of the former row Padding 
until the right side is again reached. Go ^ work 

For the third row, take the gold threads over string 
1, and couch it down between 1 and 2 ; take it again 
over 2 and 3, couching it between 3 and 4, and so on. 

The couching stitches must in every case be brought 
up on the outside of the gold threads, and put down 
again quite close to, or even slightly under, those already 
worked. If this is not carried out most carefully, parts 
of the ground and padding strings will be visible when 
the work is complete. The small part of the figure 
marked Y shows the lines laid quite closely together. 

The fourth row is couched down with stitches 
exactly under those in the third row. 

The fifth row repeats again as the first, and so on. 
In the figure, Japanese gold is depicted to illustrate 
the method of dealing with the outside edges. Unlike 
metal thread, Japanese gold is unsuitable for taking 
through the material as described for Fig. 53, and it 
must therefore be turned round at the end of every row 
on the front of the material, making a tiny loop at the 
edge, and a small back-stitch with the couching thread 
must secure each row of the Japanese gold, as at G. 
The outside edges must afterwards be neatened and 
hidden with some kind of outlining cord, etc. 

Japanese gold should be handled as little as possible 
while working, as it is apt to slightly untwist and expose 
the scarlet or yellow core upon which it is wound ; in a 

113 



Padding 
Gold Work 



Cloth Padding 



piece of work well done, not a scrap of the core should 
be visible anywhere ; it is also a great mistake to con- 
tinually twist the thread to prevent the core from 
appearing. The couching thread should always be 
taken over in the direction of the twist of the cord, 
whether Japanese gold or any other, according to the 
method prescribed for ordinary cord in Chapter IV., 
Fig. 21, otherwise in drawing the couching thread 
through, the laid thread will be untwisted. The padding 
threads may be sewn down to make any desired pattern, 
but one important point to remember is that where the 
lines of the design cross one another the padding threads 
should be cut at the intersections ; to pass one thread 
over another would form a little lump which could 
not be well covered 
with the metal thread ; 
also where two padding 
threads lie close to one 
another, a small space 
must be left between 
the two to allow for the 
indenting of the metal 
thread when couching 
it. 

A further method of 
Padding is to cut out 
pieces of cloth, of a kind which is made for the purpose, 
yellow or white, according to the colour of the metal used. 

114 




Fig. 53 



Fig. 55 illustrates the padding of a circular piece of Cloth Padding 
work, and the method applies to designs of any shape 
where it is desirable to raise one part more than the rest ; 
for example, the centre of a berry or the edges of a leaf. 

First cut out a number of circular pieces of the cloth, 
each piece slightly smaller than the former, as at 
A, B, C, etc. : — 

Tack them down to the ground with 

stitches, as at - - - - D-E 

finish this as far as the centre - F 

take a circular piece of the same 
cloth G, slightly larger than the 
first piece A, 
cover the whole of the rest with it, 
straining it evenly all round, and 
sewing with small stitches on the 
outside edge at H-J 

If the proper kind of cloth be used it is an easy matter 
to take the stitches through to the back when laying 

the metal over the 
padding, or even 
to shade in silk if 
desired. 

Fig. 56 shows Padded Acorn 

an Acorn, padded 

according to the 

method described in Fig. 55, but with the omission of 

the outside cover at B. At C is illustrated the direction 

115 





Padded Acom i n which the threads are to be put, according to the 
methods already explained, after the cover of cloth has 
been secured in position. 

K | 2 3 



Padding with 
Threads 




Fig. 57 represents another method of padding at A, 
while B, C, D, E are various lays of working. 

For A, take a strand of six or more flax threads, 
or padding cotton, the number varying according to the 
size of the piece to be padded. Lay these down on the 
background at the right-hand side, tacking them at 
intervals with threads, as at F, G, H, etc. Complete 
the left side in the same way, and cut off the padding at 
the bottom J. Then take a second strand, tacking it 
close up to the first, and so on with subsequent strands 
until the centre is reached, and the space is filled. As 
none of the padding is taken through to the back of the 
material, all ends must be cut evenly to the desired 
shape with a sharp pair of scissors, and firmly secured 
with the tacking-down threads, 

116 



This method is used equally well for silk embroidery, Padding with 
as for metal work, and it also constitutes the padding Threads 
for Bullion work. 

Returning to the figure, at B, the threads of either 
silk, metal or purl are taken horizontally across the 
padding ; at C they are taken crosswise ; and in D they 
are worked with a vein in the centre with the stitches 
running into the vein from either side ; E shows half 
the petal raised, and the other half filled with small 
seeding stitches in purl or similar thread, and an outline 
of French knots or metal beads. The method of employ- 
ing purl, described in Chapter II., is to cut it into the 
lengths required before sewing it down. At B, the 
lengths of the purl are numbered 1, 2, 3, 4, 5, etc. To 
sew these pieces over the padding : — 

Put the needle up at - - K 

through No. 1 piece of purl and 
down at - - - - - L 

up again at- - - - - M 

through No. 2 piece of purl and 

down at - - - - - N, and so on . 

Care and experience is needed to cut the pieces of 
purl exactly the right lengths, and also to lay them 
sufficiently closely together to produce an even surface ; 
if they are put too close, some of them will jump 
up and lie on the top of the others. The thread 
used for sewing purl must be very strong and well 
waxed. 

117 



Parchment 
Padding 



Sewing Plate 



Fig. 58 shows a method of padding with leather or 
parchment, which was frequently employed in former 
days. At A is a 
piece of the skin; 
at B the tracing 
upon it ; at C the 
stitching down to 
the background after 
the design is cut out ; 
and at D the method 
of covering it with the 
metal. The .method 
of working is similar 
to that described for 
Fig. 53, the threads 

being carried across Fig. 58 

the whole width of the leather or parchment and secured 
at either side with waxed thread, as described for the edges 
of the H stem in Fig. 53. When using plate (strips of flat 
metal) it is not possible to take it through to the back in 
this way; either the plate must be doubled care- 
fully and brought back again from left to right, 
being secured by a sewing stitch at the outlines, or, 
like a silk thread, it must be taken through the 
material and up again on the opposite side, 
although the latter is not easy to manipulate. 

Fig. 59 shows the effect of plate or metal Fi §- 59 
twist taken backwards and forwards across the 

119 





padding without going through to the back. This Sewing Plate 
is frequently seen on stems, or as raised edges for flat 
couching. 

A great deal of metal work being done on coarse 
linen or on canvas, many of the stitches explained in 
Chapter III. are quite suitable for it. For this, it must 
be borne in mind that a needle of a sufficient size to 
take the metal thread with ease must be chosen, and 
invariably a round-eyed needle will be found the best 
for the purpose. 

Several Darning Stitches are also appropriate for 
metal work. 

There are many methods for sewing Spangles 

0on spangles. 
In Fig. 60 the centre of the spangle will 
Fig. 60 be at B ; commence by : — 

Putting the needle up at a distance 

of half the width of the spangle at - C 
take a spangle on the point of the 

needle, and put the latter down at B 
put the needle up again at - D 

down at- - - - - - B 

Large spangles are frequently sewn three times into the 
centre to produce a good effect ; they are also sewn with a 
thread to match the spangle or with a contrasting colour. 
Another way of securing spangles is to put the 
needle up in the centre as at B, and by using a tightly 
twisted silk thread or a metal one, make a French knot 

119 



Spangles (see Chapter V., Fig. 36), and put the needle back again 
into the centre at B. This, however, is not very satis- 
factory, as the knots will often slip through the hole of 
the spangle in the course of time. A better method is 
to thread a short piece of purl or a bead upon the 
needle, instead of making a French knot. Spangles 
are frequently used to form the vein of a leaf, but entire 
spaces may be filled in with them, in which case they 
are placed to overlap each other (see Fig. 61) like fish 
scales. To do this : — 

Put the needle up at 

thread spangle No. 1 and a short piece 

of purl upon it - 
put the needle through spangle No. 2 

and down at 
bring it up again at 
thread spangle No. 3 and a piece of 

purl - - -' - 

put the needle down at - 
bring it up at - 
thread spangle No. 4, and so on. 

Instead of using purl, the spangles may be 
sewn in this way with plain silk, or with a little row 
of beads. 

Shaped spangles are sewn with little stitches put into 
the holes made at their edges. 



F 






F-G 

i 




— F 


G 2 




— G 


H 

3 




- H 

1 


H-G 4 






G 
J 


Fig. 61 





120 



CHAPTER XI. 

Drawn and Gut Work. 

IT should never be forgotten that when threads are Drawn and 
drawn out from a material it is very much depre- Cut Work 
ciated as far as its wearing properties are concerned, 
therefore, in choosing a design for drawn work, select 
one in which all the threads, which will be left, may 
be over-sewn, and still further supported by diagonal or 
other threads which may be introduced in the working. 

The stitches employed in ordinary drawn thread 
work are often most unpractical, and by no means 
beautiful. 

The best descriptions of this style of embroidery 
are those known as Cut Work, Reticella, or Greek Lace, 
which latter is perhaps a misnomer. The stitches 

used are : — 

Solid Buttonholing, as in Fig. 62. 

The method of working is similar 
to that described for Smyrna Edging, 
Chapter XV., Fig. 87, the buttonhole 
stitch being given in Fig. 64. 

Overcasting Stitch, as in Chapter 
XII., Fig. 73 ii. An "Under 
and Over " Stitch, called Genoa Stitch, Chapter XII., 
Fig. 77, 

121 




Drawn and 
Cut Work 



Simple 
Reticella 



Reticella should always be worked directly on to 
the article which it is to ornament, the most usual 
fabrics being linens and coarse silk like tussah, or some 
hand- woven stuffs. 

When working Reticella the linen should first be sewn 
on leather, toile ciree or glazed linen (see Chapter VI., 
Fig. 41), and the pattern, if at all elaborate, should be 
traced upon it. If the pattern is quite small and simple, 
the linen does not need a backing. In all the patterns, if 
there are any vertical or horizontal threads, they should 
be left in the warp and weft threads of the linen, those 
in any other direction being put in whilst working. 




Fig. 63 



Fig. 63 shows a very simple pattern with its method 
of working. This pattern was taken from an Italian 

122 



cloth woven in squares of rather more than one inch, Simple 
alternately plain and chequered, with the pattern Reticella 
worked into every plain square. 

Commence by counting 24 threads each way and 
marking them at the corners A-B-C-D ; find the centre 
of each side E-F-G-H and mark two threads on each 
side, which are to be kept as a foundation for the 
embroidery. Now cut along the threads J-K-L about 
one-eighth of an inch away from the outside lines A-B, 
etc. ; repeat this for the other three quarters of the 
square, taking care to leave the four foundation threads 
each way intact. Draw out all the cut threads, leaving 
each quarter clear. 

Turn under the little turning at J-K-L, etc., as far 
as the lines A-B, etc. 

Thread a needle with the flax or silk thread chosen, 
and : — 

Bring it up at - - - - E 

take it down between the second and 

third threads at - - - - M 

work under and over the four threads 
as in Chapter XII., Fig. 77, to the 
centre - - - - - N 

take a thread to the corner - - A 

then back into the centre - - N 

begin sewing under and over (Fig. 77) 

as far as - - - - - O 

take a stitch into the worked bar - E-N 

123 



Simple overcast back to 

Reticella make another bar in the same way 

from the un worked bar 
and back to - 

continue under and over to where a 
picot (Fig. 64) is made on either 
side of the bar (Fig. 77) 
finish under and over to - 
Now keeping the edge A-H carefully 

turned under, oversew it to - 
from H repeat as from 
until the corner D is reached. 
Then take a thread along the edge from 
and commence oversewing back to - 
continue from - 

and repeat as from - 
for the rest of the little square as far as 
It is completed by oversewing from - 
then fasten off. 
For buttonholing over a bar, 
make a loop of the thread by 
holding it down under the 
thumb ; put the needle over the 
bar, through the loop and pull 
it tight ; and repeat. lg " ()4 

To form a Picot, a pin is inserted temporarily, as in 
the illustration, to prevent the stitch from being pulled 
tight, so that a little loop is left. The first buttonhole 

124 



H-N 





P 


A 


H 


E 


DtoH 


D 


DtoG 


H 


E 


Eto A 




stitch after the picot is taken " backwards" under the Simple 
bar, the rest being continued as at first. Keticella 




Fig. 65 



If the above method be followed faithfully, quite picot 
complicated patterns are possible, as, for instance, 

125 



Picot that shown in Fig. 65, although in this the pattern is 
traced on leather and the linen is tacked to it as in 
Chapter VI., Fig. 41. 
Reticella A represents the pattern traced ; B the first stage ; 

C the second ; and D the completed embroidery. 

As in this design there are no warp and weft threads 
left, after cutting out the linen in the centre and turning 
the edge under as in Fig. 63, a foundation will have to 
be made by sewing down, on the leather, along the 
tracing lines E, two or three threads with a needle and 
tacking cotton which is afterwards taken out from the 
back when the work is finished. Now commence filling 
in the pattern, working along the lines as they follow 
each other, as far as possible. Most workers prefer to 
start in the centre of a pattern of this kind, and to work 
towards the circumference. 

In the part marked D, F is buttonhole stitch, G is 
picot, and H is overcasting ; J is solid buttonholing, 
which is worked in lines as for Fig. 62. 
Renaissance Another kind of Cut Work is called Renaissance or 

Embroidery Richlieu Embroidery, in which the pattern is traced on 
the material which is to be embroidered, which 
is then tacked to toile ciree, or glazed calico, 
all over. The tacking must not cross any of the 
tracing lines. The edges are then worked, being either 
oversewn or buttonholed very closely and strongly, with 
sometimes the addition of a stout thread sewn in with 
the outline ; this both raises and strengthens it. 

126 



The bars, or " brides," at B are worked at the same Renaissance 
time with the outline, and the threads are thrown across Embroidery 




and fastened at the opposite side of the pattern, then 
buttonholed over without catching in any of the linen 

127 



Renaissance ground. For instance, in buttonholing the edge of 
Embroidery j ea f d when the point E is reached : — 

The thread is taken across to - F twice 
and buttonholed (Fig. 64) back to E 
Continue the edge of D as far as G 
throw the thread across to - - H twice 

buttonhole back to - - J 

throw the thread across to - - K twice 

buttonhole back to - - - J 

continue buttonholing to - - G 

proceed with the edge of - - D, and so on. 

The ornaments at C are small eyelet holes button- 
holed round and further ornamented with a little 
" spider's web " of crossed threads interlaced in the 
centre for a few rounds, as in Chapter V., Fig. 38. 
L is a simple coral stitch made like the first part of 
Fig. 35 in Chapter V. 

The edge M is first outlined, then padded (see Fig. 
44x, Chapter VI.) and buttonholed first with the looped 
edge outside, N ; after which it is turned round and a 
second row of buttonholing is worked between each 
stitch of the first row, with the looped edge turned 
inside, O. 

After the embroidery is finished, take out the threads 
which tack it to the toile ciree, and cut the linen all 
round the buttonholed edges of the pattern, so that the 
part marked P behind the bars may be taken away, 
leaving clear spaces. If a quantity of this kind of work 

128 



Broderie 
Anglai^e 




is being done, a pair of lace scissors which have one Renaissance 
point protected minimises the danger of accidentally Embroidery 
cutting through the bars. 

Yet another species of Cut 
Work is that which is called 
Broderie Anglaise or Madeira 
Work. This was extensively 
done by our grandmothers, and 
the patterns they used were very 
often not beautiful, though their 
stitching was usually perfect. It 
is now used in conjunction with 
raised " white embroidery " and 
with open stitches, as in Fig. 44, 
Chapter VI., with very successful 
results. 
Fig. 67 shows the method of working a typical leaf. 
Outline the design A with running, as in Fig. 44x, 
Carefully cut away the centre of the 
leaf, leaving a small turning all 
round - - - - - B 

turn this under with the needle as 
far as the outline, taking care not to 
stretch or fray the edges of the leaf, 
and commencing at - - - C 

oversew the edges carefully and firmly all round. 

The only difficulty which this work presents is that 
of keeping to the correct shapes and sizes of the " holes." 

129 



CHAPTER XII, 



Darning 



Darning, Hemstitching, Open Seams. 

IN devoting part of the chapter to Darning, it is 
thought desirable to bring before the mind particularly 
the mending of houselinen and 
damask, an art which d BouK 



Right- Side of 
I Linen. c 

I 



I 



Hole 




z ^- N , 

/ Parch shewing \ 

' /^ through Hole x N I 



V'J 



Fi". 6S I. 



is carried on in great perfection in France and other parts 
of the Continent, but practically neglected in England, 
although quite a good living may be earned by the work. 



130 



Figs. 68 I., ii., show an easy and quick method of 
filling in a large hole in the fabric, and is called " darning- 
in " a patch. For the sake of description, imagine the 
fabric which is to be patched to be a coarse linen ; take 
a piece of the same material two inches larger each way 
than the largest part of the hole — thus if the hole is 2 




Linen into which patch 
is to be darned 



Patch 



r 



B 



I 



Fig. 68 II. 

inches long by 3 inches wide, the piece for the patch will 
be cut 6 inches long by 7 inches wide — commence by 
tacking the patch on to the wrong side of the material 

131 



"Darned-in" 
Patch 



" Damed-in ' placing the tacking stitches close together 1 inch away 
Patch f r0 m the edge of the largest part of the hole, and exactly 
along a thread of the material, so that a rectangular patch 
is formed, A-B, etc. It is also essential that the patch be 
sewn thread for thread with the front of the material, 
for a reason which will be obvious later. Now cut the 
threads very carefully in the centre C.C. up to the line 
A-B. 

(If by accident the corners of the hole W-X, etc., 
should be cut, there is nothing for it but to begin again 
with a larger patch.) 

Now ravel out the threads for about an inch or less, 
taking care not to break them, especially where they 
intersect those coming in an opposite direction at the 
corners. The sewing of one side should be completed 
before proceeding to the next, or the ravelled threads 
are apt to get in the way and prevent good work being 
done. 

This stage having been reached, the vertical threads 
R will appear ravelled out along half of the edge A-B, 
with some horizontal ones R at the corner B ; turn 
these latter threads back out of the way, and take a 
needle threaded with a " bout " of cotton (see Chapter 
IV., Fig. 22). Put the needle through on thread A-B, 
and run it invisibly down the vertical thread of the patch 
which is showing through the hole to D, finishing the 
run with the point of the needle out at the back of the 
patch (see Fig. 68 n., D). Now put the first of the 

132 



threads, E, through the loop of the bout, and pull the i; Darned-in 

needle through, allowing the little end to remain on the Patcl1 

back of the patch (Fig. 68 u., E). Proceed in like 

manner for F-G, etc., until the corner B is reached. 

Return to C and ravel out the work to A. Now cut the 

threads at H and ravel out and work to B ; return to 

H and work to J, and so on all round the patch. Take 

out the tacking threads ; then turn the work over (see 

Fig. 68 ii.), and ravel out one side of the patch as far 

as the line A-B, and commencing as before in the centre, 

run in the threads as described for the right side ; 

in this case, however, they will be put upon the 

surrounding material, and finished on the wrong side 

(see Fig. 68 n.). 

Pare off any thread ends, and the patch is complete. 
If this method be followed carefully, the patch will 
not be visible at all on the right side, and only slightly 
on the wrong side, having the appearance of a rough 
place in the weaving. Where very fine material is to 
be patched, two or even three threads may be run at 
one time, with the " bout." If a patterned stuff is to 
be mended, the design must be matched faithfully when 
cutting the piece for the patch. 

When " working in" a, patch, the material should be 
stretched in a ring frame, or sewn upon a piece of toile 
ciree, then proceed as for ordinary stocking darning, in 
which it is presumed every student of embroidery has 
already become proficient. Take a needle with a thread 

133 



>; 



" Darned-in " 
Patch 



Darning in a 
Warp 



of the exact colour and thickness of those composing 
the material to be mended ; if possible use ravellings 
of the same stuff, except for table-linen, when a specially 
fine, flat flax thread is employed. 

To work in a patch ac- 
cording to the method shown 
in Fig. 69, bring the needle up 
about half-an-inch away from 
the edge of the hole, A (or 
more if the material round 
the hole is fragile) ; darn 
vertically exactly over the 
original threads in the direc- 
tion of the warp, until within, 
say, three threads of the 
edge of the hole, B ; take 
the darning thread across 
the hole and put the needle 
down at C, and catching up 
the other part of the broken Flg- 69 

thread, darn again as before for half-an-inch (or 
more), putting the needle down at D, up at E on the 
next thread ; leave a small loop on the wrong side, F; 
proceed as before to G, and so on until the hole has all 
its warp threads restored. Where the fabric is fragile, 
the darning of the warp threads must extend for 
half-an-inch or more beyond the sides of the actual 
hole. 




134 



XWSiMnrti^ 



Examine the material to see how the pattern is Darning in a 
made, and then proceed to darn in the weft threads War P 
accordingly. 

Fig. 70 shows the Twill Dam 
method of darning a 
simple twill. After put- 
ting in the warp threads 
as described in Fig. 69 
take the first weft A, 
and put the needle in 
at B :— 
Under warp 

thread - 1 
over - - 2 and 3 
$ under - 4 ,, 5 
over - - 6 „ 7 
and repeat from J. Cut off the thread, leaving quite 
a short end on the wrong side, and return to the 
right-hand for the next row, at the second weft thread 
C. Put the needle 

under warp threads - 1 and 2 
t over - - - 3 „ 4 

under - - - 5 „ 6, and repeat f 

For the third weft thread D, put the needle 




Fisr. 70 



over warp thread 
under 
J over 
under 



2 and 3 
4 „ 5 
6 ,, 7, and repeat J 



135 



Twill Darn For the fourth weft thread E, put the needle 

over warp threads - 1 and 2 
{ under - - - 3 „ 4 

over - - - 5 ,, 6, and repeat from J 

For the fifth weft thread F, repeat as for weft A, and 
so on, making the diagonal pattern called a twill. Tidy 
the back by cutting the loops of the warp and the ends of 
the weft evenly. «*&U.!?9_B76 5 4j2_i 




Fie. 71 



"Fishbone" Fig. 71 is rather more elaborate, and is called the 

Weave « Fishbone ' Weave. 

Proceed for the warp as in Fig. 69. 
For the first weft thread A, put the needle 
under warp thread - 1 
J over - - - 2 

under - - - 3-4-5 

over - - - 6 

under - - - 7-8-9, and repeat from £ 

136 



For the second weft thread B, put the needle " Fishbone " 

under warp threads - 1 and 2 Weave 

over - - - 3 

| under - - - 4-5-6 

over - - - 7, and repeat from J 

For the third weft thread C, put the needle 
under warp threads - 1-2-3 
f over - - -4 

under - - - 5-6-7 and repeat from J 

For the fourth weft thread D, put the needle 
J over warp thread - 1 
under - - - 2-3-4 

over - - - 5 

under - - 6-7-8, and repeat from J 

For the fifth weft thread E, repeat as for A. 

For the sixth weft thread F, put the needle 
over warp thread - 1 
{ under - - - 2 

over - - - 3-4-5 

under - - - 6 

over - - - 7-8-9, and repeat from J 

For the seventh weft thread G, put the needle 
f under warp thread 1 
over - - - 2-3-4 

under - - - 5 

over - - - 6-7-8, and repeat from J 

137 



" Fishbone " For the eighth weft thread H, put the needle 
Weave j over W arp threads - 1-2-3 

under - - -4 

over - - - 5-6-7 

under - - - 8, and repeat from J 

For the ninth weft thread J, put the needle 
over warp threads - 1 and 2 
J under - - - 3 

over - - - 4-5-6 

under - - -7 

over - - - 8-9-10, and repeat from J 

For the tenth weft thread K, repeat F. 

For the eleventh weft thread L, repeat G. 

For the twelfth weft thread M, put the needle 
X over warp thread - 1 
under - - - 2-3-4 

over - - - 5 

under - - - 6-7-8, and repeat from { 

Continue from A, and so on. 

Where a pattern of flowers, figures, etc., is to be 
restored, continual consideration of the weft thread is 
necessary to the correct reproducing of the design. 

Pattern darning is also used for backgrounds, in 
which cases the linen on which the darning is done, 
should be strong but not woven too closely. The 
stitches upon it are taken in exactly the same way as 
those described above, except that instead of having 

138 



warp threads only upon which to work, there will be " Fishbone 
the linen fabric. Weave 

There are also many examples of plain linen, orna- 
mented with a design of simple embroidery in darning 
stitch, and Fig. 72 shows the usual method of working 
such. a 






~ in 




Commence along the outline : — Solid Darning 

Put the needle up at A 

down at - - - B 

up at - - - C 

and so on along the 

tracing line to - - D 

then up again at - - E 

down at - F 

139 



Solid Darning putting in the stitches by the side of the spaces of the 
previous row. 

Continue working to - G 

putting the needle down at H 
up on the tracing line at - J 
continue again to - K 

back again from - - L 

and so on for alternate sides of the middle portion of 
the leaf, until the centre is reached. Finish the turn- 
over and then the pieces M and N. This method of 
darning is also used very extensively for silk, crewel, and 
sometimes for metal embroidery. 
Hemstitches In the restoration of linen, etc., and the utilising 

of fragments too curious to be thrown away, as well as 
for articles which are newly made, hemstitching and 
open seams are frequently required. 

As a finish to an edge, Plain Hemstitching is both 
ornamental and practical (see Fig. 73). 

One important fact, however, must be borne in 
mind ; the material will be weaker by half its strength 
if the threads be drawn out. This should be avoided 
if possible by drawing the threads of the fabric together 
instead of taking them out as the work progresses. 
Such weakened material is frequently the cause of 
articles (handkerchiefs, etc.) being returned from the 
laundry minus the hemstitched edges. In simple Hem- 
stitching the greatest number of threads drawn out, if 
absolutely necessary, should be one or, at most, two. 

140 



For the curved edges of collars, etc., the threads, of Hemstitches 
course, cannot be drawn out. 




m 



Fig. 73 



To hemstitch as shown in Fig. 73 i., first turn down 
and tack the hem; then proceed with the hemstitching 
by :— 

Putting the needle down at - A 
under 4 threads and up at - B 
take it through a little piece of the fold of the hem C 
(not through to the front), and take care that the point 
where the needle takes up the fold is always in the 
centre of the bundle of threads enclosed in the stitch, 
whether four, six or more, as shown by the needle at F. 
To proceed : — 

Put the needle down again at D 
under 4 threads and up at - A 
under the fold and up at - E, and so on. 

141 



Plain 
Hemstitching 



Corner At the corners the material should be folded quite 

squarely, and the superfluous parts should be cut 
away 

(see Fig. Fi §' 74 

74). The 
stitches at 
these points 
will be taken 
in exactly the 
same way as the 
rest, except that there 
will be two thicknesses 
of stuff through which to 
sew with each stitch along 
the two inner sides A and 
B of the little corner square. 

The outer sides are over sewn 
neatly. 
Overcast A useful and strong pattern of a 

Hemstitch w ider hemstitch is illustrated in Fig. 73 n. 

Draw out a sufficient number of threads, sav, 
four, six, or eight, according to the quality of 
the fabric. Tack the hem as described above :- 
Put the needle up at - - G 

down at - - - - H 

over the vertical threads of 

the material and up at - J 
down at - - - K 

142 




now twist the needle round the bundle of four threads 
a sufficient number of times to entirely enclose them, 
ending at L, 

Bring the needle through the 

fold at - - - - M 

put it down at - N, and so on. 

Both this and the ordinary hemstitch are worked 
from left to right. 



Overcast 
Hemstitch 




Reverse Fig. 75 i. Fig. 75 II. 

Fig. 75 is a very useful stitch which may be employed Open Seams 
merely as ornament, or to conceal the joining of two 
pieces of material, or for the working of the edges of 
' insets." If two pieces of material are to be joined, 
or one piece inserted into another, sew them together 
on the wrong side by the thread at A-B (Fig. 75 I.), 
leaving a small turning to fell down at C-D, thus making 
a neat, flat seam. Now : — 

Put the needle up at - - E 

pass it over the seam to - F 

under 4 threads and up at - G 

take it over the seam to - II 
pass it under 4 threads (the left-hand 2 of which must 
coincide with the right-hand 2 of the bundle F-G), 

143 



Open Seams 



Faggotting 



bring it up at - - - J 

down at - - - K 

under 4 threads and up at - L, and so on. 

The thread must be drawn tightly for this stitch so 
that the right side (Fig. 75 n.) shows two series of small 
holes alternating with stitches as at A and B, with 
a slightly raised space between them as at C. It 
may also be worked from 
the front, but in this 
case more time will be 
occupied in executing it. 

Fig. 76 shows a 
simple method of joining 
seams or putting on a 
border, which is called 
Faggotting. 

Before commencing 
the stitch, the edges of 
the material should be 
hemmed neatly or hem- 
stitched. A in the figure 
represents one piece of 
stuff, B another, and C 
and D are the hems. E is 
the faggotting will be worked. 




Fig. 



76 



the space over which 
Take a piece of glazed 
linen or even a piece of brown paper, and tack the hems 
upon it at the desired distance apart, see F and G. 
These preliminary directions apply to all open seams. 

144 



Commence the faggotting at H in the piece of material Faggotting 
A ; take the thread over to piece B, 

Put it down at - 

up at 

without taking it through to the 
back of the linen, pass the needle 
under the line 

back again between L and J at - 

so that the thread is ready to be 
taken across to 

put it down at - 

up at 

pass it under the line M-N at 

and back again at 

ready to proceed to - 



J 
K 



H-J at L 
M 



N 
N 
O 
P 

Q 

R, and so on. 



G 
D 



mm 



H K 



M 



F 
-E 



B 



Fig. 



Fig. 77.— In this A and B Genoa Seam 
are the two pieces of material, 
and C the space ; first proceed 
with the hemming, etc., as 
described above. 

For the bars, which are 
an interlacing stitch, frequently 
called Genoa Stitch : — 
Put the needle up at - D 
down at - - - E 

up at - - - F 

down at - - - G . 

(If a very fine thread is used 



145 



Genoa Seam 



Looped Seam 



or more strength is required, these stitches may be 
repeated into the same holes two or three times.) 

Pass the needle (now at G), down 
in the centre at 

under the line - 

over the same into the centre 

under and over the line 

into the centre at 
continuing until the lines D-E, G-F are quite covered 
and the needle arrives at F again. Then slip it 
through the edge of the B material to M and 
repeat as before. 



H 

D-E 
J 
G-F 

K, and so on. 




B 



Fig. 78 

Fig. 78 is another and more elaborate Open Seam, 
but is quite easy to work. Regarding A-B-C as 
before in Fig. 76 : — 

146 



Put the needle up at - D Looped Seam 

down at - - - - - E 

up again at - - - - F 

make 4 buttonhole stitches loosely 

into D-E, as far as the centre 

of space - - - - C 

take the needle across from G to - H 

which should be exactly opposite - E 

put it down at - - - - H 

over the thread - - - H-G 

down at - - - - - J 

through the loop - - - H-J 

buttonhole once into - - - H-G 

now twice into buttonhole No. 3, 
now one buttonhole into No. 5, 

take a long thread across to - K 

and repeat from - - - E 

This stitch was discovered on the ancient linen dress 
of a child. 



147 



CHAPTER XIII. 

Methods of Transferring 
Embroidery. 

Antique Work ^ EFORE proceeding with the work of this chapter, 
|j it seems desirable to register here a protest 
against the deplorable custom of cutting out and trans- 
ferring old pieces of embroidery to new material, when 
the original ground is partly or wholly worn out. This 
method ought only to be resorted to in cases where the 
original design was worked separately in parts and 
afterwards applied to a ground of velvet, silk, satin, etc. 
There are several legitimate means of restoring antique 
embroideries without lessening either the beauty or value, 
as would be the case if they were cut out and transferred. 

When it is quite impossible to avoid transferring an 
old piece of work, it is most important to match the 
original fabric of the background as far as possible ; 
failing this, something should be chosen which will not 
take away the character of the work, nor look too new 
and fresh when compared with the embroidery. 

Where a velvet background is chosen, it is nearly 
always advisable to execute the embroidery on a linen 
backing, afterwards cutting it out and applying it to 
the velvet (see Chapter VIII.) ; working directly on 
velvet is very difficult unless the design is cut out either 

148 



in fine cloth or, as with some metal work, in parchment, Antique Work 

which is first sewn down to the velvet and then worked 

over with the embroidery ; the pile of velvet is apt to 

push its way between the stitches, and also in putting the 

needle through to the back the pile will become drawn in 

with the thread, thus destroying the outline of the design. 

With very solid metal or silk work, a strong background 
is necessary to support the weight of the embroidery 
and the pull of the sewing threads, so that in such cases it 
is expedient to complete the pieces separately and then 
to transfer them, otherwise the great strain put upon 
the ground material will cause it to wear out quickly. 

Commence by framing the background of the work General 
which is to be transferred upon it ; if too large for a Instructions 
frame, spread it flat upon the table or floor. Take a 
line of cotton or fine string down the centre from top to 
bottom, and from side to side at right angles to the first, 
as described in Chapter XIV., Fig. 81. Now take a prick- 
ing of the design and pounce it carefully on to the ground 
material, ensuring that it is exactly in the right position 
everywhere ; in the case of a powdered ground or diaper 
pattern, for instance, see that the little detached parts 
of the design are all placed correctly. Now, precisely 
upon the pounce marks, place the cut pieces of the 
embroidery and pin them to the background (see 
Chapter VIII., Fig. 47 n.), immediately proceeding to 
sew down the edges as for Applique (see Chapter VIII., 
Fig. 47 i.), if the work is in a frame. If, however, the 
article is too large to be framed in one piece, securely 
fasten all the embroidered parts to the ground with 

149 



General 
Instructions 



Over-Sewing 



large tacking stitches all over, as pins would probably 
fall out (see Chapter VIII., Fig. 47 i.). When all the 
pieces are fixed into their proper places, proceed to tack 
them down to the background, invisibly, commencing 
in the centre of a design (see Chapter VIII., Fig. 47 i.). 
These tacking stitches will remain in the work, so that 
it is important they should not be seen on the front. 

When this stage is successfully done, and no wrinkles 
are left upon the surface of the embroidery, continue 
as for ordinary Applique by oversewing the edges (see 
Chapter VIII., Fig. 47 i.). 

Where the pieces to be transferred are worked in solid 
shading, the least con- 
spicuous method of over- 
sewing them is by using 
" Long and Short," done 
with threads of the same 
colours as those used in 
the work. If the pieces 
are oversewn carefully n 
this way, it is almost 
impossible to tell where 
they are transferred. 

Fig. 79 shows that the 
needle must be brought Fi s- 79 

slantwise up among the stitches of the embroidery at A, 
and taken slightly beyond the edge at B, up again at C, 
and so on. The red dotted line indicates the position 

150 




of the needle at the back of the work. If the exact Over-Sewing 
shade of thread cannot be matched, a lighter or a darker 
shade harmonising with it may be substituted. 




Fig. 80 

In transferring work done on canvas, one of two 
methods may be employed. 

Method I. — Fig. 80. — After pasting the back of the 
canvas work as described in Chapter XIV. for Applique, 
cut out the embroidery, leaving at least one-sixteenth 
of an inch, or more if possible, all round. Starting from 
the centre A, firmly tack down the work everywhere, 
invisibly, and sew down all the little threads of the 
canvas which are sticking out at the edges with back- 
stitches B, put quite closely together in order to secure 
all the ends. Then conceal these ends with a cord, 
which is the most suitable outline for this kind of work 
(see Chapter IV., Fig. 21). 

Method II. — Fig. 80. — In the second method the 
back is not pasted, and instead of the canvas being cut 

151 



Canvas Work 
Transferred 



Canvas Work ff close to the embroidered parts, an edge of one to one- 
Transferred an d.a-half inches, C, is left all round. Place the em- 
broidery in its right position on the ground material, and 
sew it down everywhere as described above at A ; now 
carefully unravelling the canvas edge D, as far as the 
worked part, pass each thread E through separately to 
the back of the ground material with a large-eyed 
needle or with a " bout." After all the threads have been 
taken through to the back, the edges of the embroidery 
may be neatened if necessary with an outline of stitches 
F made to correspond with those of the work itself ; for 
example, tent stitch should form the outline for a piece 
of tent stitch work, and so on, although a cord is some- 
times preferable. 

Where canvas work is to be transferred on to a 
canvas ground, the second method should certainly be 
employed, as it is practically impossible to detect the 
transferred portions after the background has been 
worked in. 

It is sometimes customary to add small designs in 
embroidery to a piece of transferred work, to further 
ornament it, or to transfer the larger parts of a design, 
such as the masses of leaves and flowers, leaving the 
finer parts, such as the stalks, to be worked in after- 
wards. In these cases the parts to be worked must 
first be padded with cotton (see Chapter X., Fig. 57). 
This padding will raise the embroidery to the same 
height as that of the transferred portions. 

152 



CHAPTER XIV. 



+¥> 



if J - T T ! T 1 T T 



Stretching, Ironing and Pasting 
Finished Work. 

ESPECIALLY when the work is done in the hand, 
great care is needed with the stretching, and often 
a considerable amount of time is required to carry it 
out successfully. The method of stretching an em- 
broidered wool-work curtain, here described, applies 
to all work of a similar nature, whatever the size of the 
piece, although where it is too large to be pinned upon 

a board, or 
put into a 
frame, it is 
usual to 
s t r etc h it 
upon the 
floor, in 
which case a 
blanket is first 
spread out 
underneath 
the work to 
prevent the 

embroidered parts from being flattened, and blanket or 
carpet pins will be found the best for pegging it out. 

153 



Fig. 81 



D^ 



/ 



JU 



Stretching 
and Pasting 
Embroidery 



Stretching When stretching a curtain, first ascertain the centre 

Work of the top edge A and mark the place with a pin ; then 
do the same with the bottom edge B, afterwards treating 
the two sides C and D in the same way. Place the 
curtain face downwards on the blanket and push in a 
pin at the centre top edge A ; secure the centre of the 
bottom edge B in like manner without stretching the 
work too tightly, and taking care to get the bottom pin 
in an absolutely straight line with the top one ; fasten 
a piece of fine string round the pin at the top of the 
curtain A, securing the other end to the pin at the 
bottom B ; now find the exact centre of this piece of 
string E, and fasten another piece to the floor at the 
two sides across the middle of the curtain, exactly at 
right-angles to the first, F-G ; then draw up and pin to 
the floor the centre of each side of the curtain C and D 
at the point where the string will cross them. 

There are now four points of the curtain pegged to 
the ground, with the work (as far as the centre of it is 
concerned) at right angles. Returning to the top of the 
curtain and commencing in the centre A, working 
towards the left-hand side, stretch it out and secure 
the edge to the floor with pins at intervals of, say, 
1 inch ; then go back to the centre and work along 
towards the right-hand side. Repeat this action for 
the foot of the curtain, and then for each side, exercising 
great care to keep each pin along the edge in as straight 
a line as possible. 

154 



When this is completed, there will probably still Stretching 
remain some wrinkles on the surface of the work ; to Work 
remedy this, take out the pins nearest to the wrinkles 
and stretch that piece of the curtain a little more. 
Leave the work stretched upon the floor for at least 
twenty-four hours, when more wrinkles will have 
appeared. Now examine all the pins round the edge 
of the curtain, re-adjusting those wherever the wrinkles 
need pulling out ; with very badly drawn pieces of 
work, this process has frequently to be repeated as 
many as four or five times, and the work left stretched 
for weeks. 

When as many of the wrinkles as possible have 
disappeared, take a sponge, dip it in clean, cold water, 
wringing it sufficiently dry to avoid any dripping from it, 
and slightly damp the embroidered part of the curtain ; 
leave it stretched as before for another twenty-four 
hours to shrink it. This should be successful treatment 
for work which is not badly puckered, but where this is 
the case, a little paste on the back of the embroidery 
is sometimes needed, though this should be resorted 
to only when absolutely necessary. 

Professionals are, sad to say, too often prone to 
" make free with the paste-pot " ; certain kinds of 
work, however, such as applique, gold work, etc., most 
certainly need pasting on the back when finished. 

An excellent paste for commercial purposes is 
" Stickphast," but, for very fine work, a mixture of 

155 



Stretching nne white Rice Starch, with the addition of a few drops 
Work £ ojj £ d oves t preserve it, will be found strong 
enough. 

For very stiff Military Embroidery, where thick 
layers of holland are used for the backing, a paste made 
from Farina and Dextrine, or something similar, is 
needed. 

In stretching a piece of work small enough to put 
into a frame, it is quicker to make use of an iron. The 
embroidery must be sewn into the frame very carefully 
according to the method described in Chapter II., 
Fig. 6. 

Turn the frame over across two trestles and place 
on the back of the work, first a clean, dry cloth, then 
another which has been wrung out of clean water. 
Take a hot iron and pass it over the wet cloth until 
every part of the embroidery has been ironed. Now 
take away the wet cloth, and the second one, which is 
now slightly damped, must be thoroughly dried with 
the iron all over. Leave the work in the frame after 
ironing for an hour or two to ensure its becoming 
" bone-dry." 

Should pasting be necessary, apply the paste as 
thinly as possible with the fingers rather than with a 
brush. With the fingers it is easier to feel that the 
paste is being put on quite gently, so that there is no 
risk of its being rubbed through to the right side of 
the work. 

156 



A piece of thin muslin may be stretched over the Stretching 
pasted work if preferred, and the whole must be left Work 
in the frame until perfectly dry. The object of pasting 
is to prevent heavy work from drawing up when taken 
out of the frame ; in Church Work, for instance, 
where a quantity of metal is laid down, or there is a 
mass of thick, solid silk work, the stitches are apt to 
draw together when acted upon by differences of tem- 
perature, the result being in the case of metal threads 
or Japanese Gold that a number of loops are formed 
between the couching stitches, thus puckering the 
ground material and spoiling the pattern of the work, 
and lessening the chance of its wearing well. 

When a piece of work is pulled badly out of the 
square, which is not infrequently the case, it is impossible 
in the first, or even the first three stretchings, to get it 
at right angles. In such a case, the top edge must first 
be stretched parallel with the bottom edge, and then the 
sides must be gradually brought into the square by 
taking out all the pins each day with the exception of 
those at the top. A piece of work of this description 
has often to be damped several times on the back, and 
will occupy as long as three weeks to get into good order. 
Work done in the frame should always be ironed (and, 
if necessary, pasted) before taking it out of the frame, 
to avoid the necessity of a second framing. 



157 



CHAPTER XV. 

Mounting Finished Work. 

Mountina y\ GREAT deal of work, particularly that done by 
JLjL t ne majority of amateurs, is completely spoiled by 
being badly mounted, or, as it is commonly called, 
" made up." Articles to be mounted as boxes, screens, 
photograph frames, etc., are better if left in the hands 
of a professional mounter, as also are embroidered books. 
If there is any uncertainty as to whether a screen maker 
will mount embroidery properly, the wooden stretcher 
upon which the work is to be fastened, should be sent 
to a professional worker who should know the correct 
way of fixing it. It must always be borne in mind that 
needlework, however well stretched, will vary in tight- 
ness with changes of temperature ; for instance, a fire- 
screen which is perfectly taut in a warm room, will 
relax and wrinkle when in a cold room or damp place. 
This also applies to altar furniture and church vestments, 
which may frequently be restored when badly puckered, 
by placing them before a fire to get thoroughly dry. 

Embroidered books in olden days were fitted with 
ribbons to fasten across them, or with clasps to keep 
them shut, because the differences in temperature by 
tightening the material of the binding would cause them 
to open. 

158 



Fig. 82 illustrates the method of mounting a handker- 
chief Sachet, or any other article which requires some 
description of thick interlining, such as wadding. 

Take the piece of embroidery A, cutting off the 
superfluous material round the edges, which should be 
perfectly square, by which is meant, at right angles to 
each other. 



Slip— |f 
Srirch 




Fig. 82 

A turning of at least 1 inch in width is required 
beyond the size of the sachet, as it will appear when 
finished. Cut a piece of wadding B exactly to the size 
of the finished article, and if a very thick padding is 
needed, cut a second piece exactly the same as the 
first. If the sachet is to be a thin one, take half the 
thickness of the wadding and lay it on the wrong side 
of the embroidery, leaving equal turnings all round. 

159 



Mounting 
a Sachet 



Mounting Now take a piece of thin linen C (or buckram if the 
a Sachet sac het is to be slightly stiff), and cut it, say, one-eighth 
of an inch smaller all round than the finished article. 
Lay this on the wadding B, and pin the turnings of the 
embroidery D carefully over it, with the edges perfectly 
straight. 

Thread a needle with cotton, and herring-bone the 
edges of the embroidery to the linen inter-lining E, 
folding the corners very neatly and squarely. Now take 
the other piece of wadding and cut the material which 
is to form the lining of the sachet an inch larger than 
the wadding. Lay its " woolly " side on the wrong side 
of the lining and herring-bone the edge of the lining to 
the " skin ' of the wadding, in the same way as the 
embroidery was attached to the linen. 

Now take both pieces of the sachet, and place the 
wrong sides together ; pin the two edges together, and, 
with a thread of silk to match either the lining or the 
ground of the embroidery, slip-stitch them neatly with 
small stitches F. The sachet must be quite neat and 
complete before putting on a cord, ribbon or other 
trimming. This method of mounting applies to all 
articles which are mounted " soft," except that in some 
cases the wadding is omitted, as, for instance, with 
stoles, ecclesiastical vestments, table-cloths, curtains, 
quilts, etc. Sometimes an inter-lining is used without 
wadding, and at other times the lining is slip-stitched 
to the material without an inter-lining of any kind. 

160 



Special instructions are necessary for the mounting Mounting 
of ecclesiastical vestments, altar frontals, etc., which a Sachet 
cannot be included in the scope of this book. 

There are various ways of ornamenting the edges of Finishing 
mounted work. 

Fig. 82 at G-H shows a method of sewing on a cord 
to the edge of an article. Commence at the left-hand 
side G, and sew towards the right H, taking the thread 
over the cord, not into it. If the cord be a twisted one, 
slightly untwist it as the thread is pulled tight, so that 
this latter may be lost in the twist of the cord. Do not 
hold the cord too tightly along the edge of the work, 
or it will draw itself up when released, and a puckered 
edge will be the result. An excellent hint, if time 
permits, is to wind the cord very tightly on to a slat 
of wood, or something firm, when it arrives from the 
makers, and to leave it for a few days before applying 
it to the edge of the article. 

The following illustrations show various tassels and Tassels 
needlepoint edgings. There are also many fringes, 
tassels and cords which the worker can make by hand, 
but these require so much time spent upon them, and, 
in some cases, special machinery, that they add very 
considerably to the cost of the work ; by employing a 
first-class trade fringe-maker, who will produce patterns 
of any style or colour required, and whose workpeople 
are accustomed to making these by hand, an excellent 
finish may be procured at a reasonable price. Fringes 

161 



Tassels which are made on the threads of the material used for 
the embroidery must, however, be completed by the 
worker. 




Fig. 831. 



Fig. 83 II. 



Trellis Fringe 



Sometimes a fringe is tied to form a trellis pattern, 
as shown in Fig. 83 I. 

Another and very durable fringe is made by making 
a series of knots upon the threads (see Chapter XII., 
Fig. 73 y and z). Fringes are also frequently enriched 
with a series of tassels sewn at regular intervals on to 
the strands of the fringe itself, or fastened to the 
edge of the material to hang over the fringe (see 
Fig. 83 ii.). 

162 



Fig. 84 shows the method of making a simple tassel. Simple Tassel 
Take a piece of wood or stout card, slightly wider than 
the length of the tassel required, measuring from A to B. 
Wind the silk, wool, cord or whatever is to be used for 
the tassel, on to the card very evenly until there is a 





Fig. 84 1. Fig. 84 II. Fig. 84 III. 

sufficient amount for the size of the tassel ; then take a 
strand of the material used, and thread it through a 
needle doubled as for a " bout " (see Fig. 22, Chapter 
IV.). Slip the needle along the top edge of the card 
underneath the threads wound upon it, C-D ; put the 
needle through the loop formed by the thread, pull it 
tightly, and take one or two stitches to secure it firmly ; 
unthread the needle, leaving the two loose ends with 
which to form a shank for sewing the tassel on to the 
article it is to adorn. Slip out the card, then take 
another thread and twist it round the tassel at E a 



163 



Simple Tassel sufficient number of times to keep them all together, and 
fasten it off very strongly. The loops at the bottom 
of the tassel may be cut or not as desired. With the 
ends left at the top, if extra strength is required, a little 
plait may be made by taking the threads at E, up 
through the centre of the tassel and plaiting them in 
with the other two ends, instead of cutting them off. 
This is the simplest form of tassel. 






Fig. 83 II. 



Fiff. 85 III. 



Elaborate 
Tassel 



Fig. 85 1. 

A second method is illustrated in Fig. 85. Take a 
pencil or thicker piece of wood, according to the size of 
the tassel required. Then take some stout flax thread, 
or macrame string for large tassels, and wind it round 
one end of the pencil or stick in the form of a figure 8, 
in the direction of A-B, until a rounded knob is formed. 

164 



Take a needle and strong thread, and sew over and over Elaborate 

this knob, putting the needle down between the pencil Tassel 

and the cotton C-D to keep all the threads firm. Now 

take another thread, say, a yellow one, and wind it all 

over the outside of the knob so as to cover it completely. 

Take a further thread, say, a red one, and proceed to 

cover this with a sort of network of buttonholing. 

Commence by passing one or two threads not too tightly 

round the pencil at E to form a little ring ; into this 

ring work buttonhole stitches F not too closely together, 

completely round the pencil. For the second row, 

buttonhole into each of the stitches of the first row, 

taking care not to catch up any of the yellow threads 

which cover the knob. Continue this until the knob 

is entirely covered with the network. For the last 

row, take a sewing stitch into each of the buttonhole 

stitches of the previous row ; pull the thread very 

tightly and fasten off securely. Now slip the knob off 

the pencil ; make a tassel as shown in Fig. 84, except 

that instead of binding it at E, the tying threads at 

C-D are pulled through the hole of the knob, bringing 

the head of the tassel up through the centre, fitting it 

neatly into the hole. 

There are many kinds of tassels, some of them very 
elaborate, but these simplest patterns will be suitable 
for most purposes. To vary them, the threads of the 
tassels may be knotted, or a mixture of metal thread 
with the silk may be used, or a network of beads, with 

165 



Elaborate 
Tassel 



Edgings 



Blanket 

Edgings 



strings of beads hanging down may be employed. If 
the tassel is not to be sewn too closely to the article 
which is being made, a shank may be formed with 
plaited threads, as described above. 

If the edges of the article are to be bound, according 
to the Japanese and Chinese methods, it is better to cut 
strips of the material on the cross or bias, even when it 
has to be applied to a straight edge, except, of course, 
in the case of blanketing or soft materials, where the 
object of binding is to prevent the edge from being 
stretched and becoming out of shape ; in this case the 
material is cut on the straight, or a ribbon will prove 
even more successful. When the binding strip is cut 
from a " piece " material, great care must be taken to 
get the turned-in edges quite straight. The binding is 
slip-stitched first on the right side, then on the left. 

Blanket Edging sometimes gives a dainty finish, 
and the three illustrated here are useful patterns. 

Commence by 
turning under the 
edge of the material 
either once, or twice 
as for a hem, tacking 
it firmly on the 
wrong side. 

For No. 1, which 
is the simplest Blanket Edging, proceed by bringing 
the needle up through the extreme edge of the material 




166 



at A ; down at B; up again at C, holding the thread Blanket 
under the thumb as for buttonholing, put it down again Edgings 
at D, up at E, and so on. 

The stitches at B-D, etc., may be either in a straight 
line or of various lengths to form a pattern. To further 
embellish this edging, a French Knot F, or small 
V-shaped stitch G at the top of each upright stitch, as 
shown in the illustration, may be added. 

If the edging is required still more strong, take 
another thread and sew into each of the stitches at 
C-E, etc., taking up a tiny piece of the extreme edge 
of the material, to form a kind of cord. 




Fig. 86 II. 

No. II. shows another example of Blanket Edging 
After having tacked the hem, commence by making a 
herringbone stitch : — 

Bring the needle up at - A 
down at - - - B 

through the material and 

up at - - C 

down at - - - - D 

up at - - . E 

down at - - - - F, and so on. 

167 



Blanket 
Edgings 



then 



G 
H 
J 

K 

L, and so on. 



Now return to the point at which it was begun and, 
with another thread, make buttonhole stitches all along 
the edge : — 

Bring the needle up at 

down at - 

up again at 
for the first buttonhole stitch 

down again at - 

up at 

Take another thread and work little stitches across the 
intersections at the top of the herringbone M-N, and a 
small vertical stitch above at O-P, also horizontal 
stitches across the 
intersections at Q-R. 
This stitch may 
also be strengthened 
at the edge if neces- 
sary with an addi- 
tional buttonhole 
stitch S. 

No. III. is worked by :— 

Bringing the needle up at A 

down again at - - - B 

up at - - - C 

taking the stitches in a slanting direction, and forming a 
buttonhole stitch as usual : — 

Put the needle down again at E 

up at - - - - F 

168 




Fig. 86 III. 



this forms a long loop from C to F along the edge of the Blanket 
material. Proceed in this way for the required length. Ed gings 
Now take a second thread : — 

Put the needle up at - - H 

down at - - - - G 

up again at - - H 

for a second row of buttonholing ; 

down at - - - - J 

up at - - - K 

down at - - - - L 

U P at - - - M, and so on, 

For the third row, place a small stitch across the inter- 
sections at N-O, and making a small inverted V, 
P-Q, at the top of the vertical stitch J-K. 

For the fourth row work a very small and fairly 
close buttonhole along the edge of the material, tacking 
down the loose threads from the former rows. 

Material to be edged 




Fig. 87 



Smyrna Edging is a quickly worked and pretty Smyrna 
edging used largely in the East, and is suitable for Ed S in g 



169 



Smyrna ornamenting cloths, bags, and a number of other 
Ed g in g articles. 

The method of working is shown in Fig. 87 as follows : 
Put the needle up at - - - A 

take a long thread across into the 

edge of the material at - - B 

buttonhole back again to - - A 

taking a tiny piece of the edge of the material with each 
buttonhole, 

bring back the thread to - C 

and buttonhole into each loop of the preceding row 
(taking in the long thread) to D. Repeat this until the 
point E is reached. Each line is reduced by one stitch 
until it comes to a point. Take the thread up from 
E to A, and commence the second Vandyke. 

Articles embroidered with cut or drawn work, or 
filet, are appropriately edged with lace made on a 
pillow. To sew this lace on properly, the work should 
be held next to the first finger when oversewing, so that 
the lace may be slightly " eased " on, otherwise when 
spread out flat it will tighten and pucker the work. 
At the corners (if any) the lace must be squared and 
very neatly joined, unless it is specially made with 
corners complete to fit the article for which it is intended. 



170 



LIST OF EXHIBITS AT THE 
VICTORIA AND ALBERT MUSEUM, 
SOUTH KENSINGTON, LONDON, 
WHICH ARE MOST VALUABLE 
TO STUDENTS 



List of Exhibits at the Victoria and Albert Listof 
Museum, South Kensington, London, which 
are most valuable to students. 

These are grouped under headings to correspond 
with those of the foregoing chapters, to illustrate the 
different kinds of work mentioned therein. 



CHAPTER III— CANVAS WORK. 



Numbers in Museum Catalogues. 



918 


... 1904 


T 206 




1912 


1372 . 


. 1853 


T 31 


... 1914 


W 7G 




1911 


269 . 


. 1893 


W 87 


... 1910 


(Irish) 825 




1904 


(Irish) 824 . 


. 1904 


E 879A 


.. 1904 


E.T. 125 




1913 


T 133 . 


. 1913 


E 1589 


.. 1901 chair E 441 




1902 


screen 




973 


.. 1897 












" Florentine Work," 


T 107 ... 


1911 






" Hatton 


Garden Panels," 517, 


518, 


519, 520, 521, 522 . 


. 1896 



CHAPTER IV.— SOLID SHADING. 



,aid Work 358 .. 


. 1892 


Silk Embroidery 2009 . 


. 1899 


289B .. 


. 1870 


114 . 


. 1873 


,, Venetian 5674 .. 


1859 


,, Dress 875A . 


. 1894 


5671 .. 


1859 


834A . 


. 1907 


,, Italian ... 122 


. 1895 


„ Shoes 1146 & 1146A . 


. 1901 


235 . . 


. 1895 


T 95 to 97 . 


. 1912 






T 177 . 


. 1914 



173 



List of 




CHA] 


Exhibits 








72 . 


.. 1897 




1390 . 


. 1904 




1310 . 


. 1901 




863 . 


. 1901 




879 . 


. 1903 




1393 . 


. 1900 




1407 . 


. 1900 




327 . 


. 1895 



CHAPTER V— CREWEL WORK. 



353C . 


.. 1907 


T254 . 


. 1912 


573 . 


. 1897 


T353 . 


. 1910 


T 38 . 


. 1909 


T 27 . 


. 1912 


355 . 


. 1905 


T326 . 


. 1910 


131 C . 


. 1889 


514 . 


. 1902 


312 . 


. 1900 


644 . 


. 1906 


246 . 


. 1891 


1474 . 


. 1902 


378 . 


. 1906 


941 . 


. 1897 



CHAPTER VII.— MUSLIN EMBROIDERY. 





193 


.. 1911 


324A 


.. 1895 


T 111 . 


. 1913 


E 


401 


.. 1907 


603 


.. 1897 


431 . 


. 1872 


T 


10 


.. 1909 


609 


.. 1897 


630 . 


. 1877 


T 


304 


.. 1910 


22 


.. 1887 


T322 . 


. 1910 




521 


.. 1908 


226 


.. 1906 


T 697 . 


.. 1913 


T 


124 


.. 1913 


108 


.. 1908 







CHAPTER VIII.— APPLIQUE. 



Italian 


365 . 


. 1891 




841 . 


. 1847 


S. French .. 


960 . 


. 1907 


Venetian . . 


5663 . 


. 1859 


5J 


148 . 


. 1891 


French ? .. 


626 . 


. 1898 


Spanish 


. T 47 . 


.. 1911 


174 







Spanish 



English 



247 . 


. 1880 


226 . 


. 1884 


916 . 


. 1904 


... W 46 . 


. 1910 


... W 15 . 


. 1911 


9142A . 


. 1863 


959 . 


.. 1907 



CHAPTER IX.— FIGURE EMBROIDERY. 



List of 















Exhibits 


E (T 315) 


817 


.. 1901 


E (T 312) 


28 . 


. 1892 




„ (T 304) 


827 


.. 1903 


., (T 317) 


402 . 


. 1907 




„ (T 327) 


T241 


.. 1908 


„ (T 306) 


175 . 


. 1889 




., (T349) 


837 


.. 1901 


Syon Cope (T 303) 


83 . 


. 1864 




,, (T307) 


8128 


.. 1863 


(T 328) 


697 . 


. 1902 




„ (T 333) 


36 


.. 1888 











CHAPTER X— GOLD WORK. 



292 . 


. 1906 


E (T 309) 


828 .. 


1903 


348 .. 


. 1901 


.. (T 319) 


230 . . 


1879 


252 . 


. 1906 


.. (T 321) 


1376 .. 


1901 


203 . 


. 1881 Flemish 


„ (T326) 


240 .. 


1908 


1452A .. 


. 1871 


.. (T 330K) 


T140C .. 


. 1909 


529 . 


. 1877 Spanish 


, (T311A) 


176 A .. 


. 1889 


T90 . 


. 1909 




1468 .. 


. 1902 


T 89 . 


. 1909 




2062 . . 


. 1900 


E (T 311 


i) 458A ... 1905 


E (T 301) 


1380 .. 


. 1901 






„ (T 332) 


35 .. 


. 1888 



CHAPTER XI— DRAWN AND CUT WORK. 



T 83 ... 


1913 


E108 


... 1908 


742 . 


. 1899 


8618 ... 


1863 


269 


... 1898 


751 . 


. 1902 


324 ... 


1903 


591 


... 1899 


433 . 


. 1884 


Venetian 


200 . 


. 1900 


Reticella 


673 . 


. 1892 


55 


.. E 190 . 


. 1900 


55 


... T 207 . 


. 1911 


Reticella 


. . 2063 . 


. 1876 


55 


... 7521 . 


. 1861 


55 


.. 1041 . 


. 1871 


55 


... 1130 . 


.. 1903 


55 


502 . 


. 1905 


Sleeve 


E T 143 . 


.. 1911 



175 



Books for 
Reference 



BOOKS USEFUL FOR REFERENCE 



HISTORICAL 

Needlework as Art 

English Embroidered Bookbindings . 

Samplers and Tapestry Embroideries . 

Old English Embroidery 

English Embroidery 

History of Lace 

History of English Secular Embroidery 
1910 



Lady M. Alford 
C. J. Davenport 
Marcus B. Huish 
E. and H. Marshall 
A. F. Kendrick 
Mrs. Bury Palliser 

M. A. Jourdain 



Lacis 



HISTORICAL AND TECHNICAL 

Carita 



TECHNICAL. 

Art in Needlework 

Encyclopedia of Needlework ... 

Portfolio of Stitches in Old English 
Embroidery, No. I. ... ... 

Portfolio of Stitches from Eastern 
Embroideries. No. II.... 

Embroidery and Tapestry Weaving ... 

Jacobean Embroidery 



Lewis F. Day 
Therese de Dillmont 

Louisa F. Pesel 



Louisa F. Pesel 

Mrs. A. H. Christie 

A. W. Fitzwilliam and 
A. F. M. Hands 

W. G. P. Townsend 

Victoria and Albert 
Museum 

Needle and Thread," published quarterly by J. Pearsall & Co. 



Embroidery or The Craft of the Needle 
Catalogues of Embroidery 



176 



INDEX 



INDEX 



Index Acorn, padding, 115 

Antique work, transferring, 148 

Appliances, 37 

Applied work, 94-100 

Applique, 94-100 

,, couching, 97 

,, cutting out, 95 

„ materials for, 94 

„ on velvet, 148, 149 

„ outlining, 97 

,, paste for, 94 

,, preparation of, 94, 95 

„ tacking, 96 

Applying solid metal work, 149 

Arranging transfers, 149 

Backing materials, 31, 32 
Back-stitehing, 82 
Badly pulled work, 157 
Bar, buttonholed, 85 
Bars or brides, 126 
Basting transfers, 149, 150 
Beads, 33 

Berry stitch, 71, 72, 73 
Binding edges, 166 
Blanket edgings, 166-168 
Block shading, 48 
Books, embroidered, 158 
„ of reference, 176 
Bout, 54 

Braid stitch, 73, 74 
Bricking, 56, 107 
Brides or bars, 126 
Broche, 38 
Broderie anglaise, 129 

,, „ method of working, 129 

Bullion stitch, 70, 71 
Buttonholed bar, 85 
Buttonholing, 124 

„ solid, 121 

Canvas stitches, 39-47 

„ work, 39 

,, ,, transferring, 151-153 

Catalogue numbers, 173-175 
Chain stitch, 61 

„ „ shading, 51 
Choice of design, 21, 22 



Choice of materials, 20, 21 

„ object, 19, 20 

Cloth padding, 114, 115 
Collar corner, 86 
Commencing marking, 75 
Cord Edge, 54 

,, sewing on, 161 
Corner, collar, 86 

,, hemstitched, 142 
Cotton threads, 32 
Couching, applique, 97 

gold work, 106, 107 
,, inlaid work, 100 
Cretan stitch, 61 
Crewel and link stitch, 62 

,, chain, and link stitch, 63, 64 

„ stitch, 58 

,, „ shading, 52 

,, wools, 32 

,, work, 58-74 
Cross stitch letters, 76 

„ „ „ planning, 76 

„ „ marking, 75, 76 
Curtain, stretching, 154, 155 
Cushion stitches, 39^7 
Cut or drawn work, finishing, 170 
Cutting out, applique, 95 

„ „ inlaid work, 99 
Cut work, 121 

Damasks, 31 

Damping embroidery, 155 

Darning, 130-140 

,, fishbone weave, 136 
in patch, 130-133 

,, in warp, 134 

„ patch, 130-133 

,, pattern, 138 
solid, 139, 140 

,, twill, 135 
Design, choice of, 21, 22 
Designs, tracing, 25 

„ transferring, 23 
Diamond daisy stitch, 44, 45 
Double coral stitch, 68, 69 

„ crewels, 32 
Drapery, to work, 103, 104 
Drawn and cut work, 121-129 



178 



Edge, to bind, 166 
Edging, cord, 54 

„ fancy blanket, 168, 169 
„ herringbone blanket, 167, 168 
„ simple blanket, 166, 167 
Smyrna, 169, 170 
Edgings. 166-170 

„ blanket, 166-168 
Elaborate Reticella, 125, 126 

,, tassel, to make, 164, 165 
Embroidered books, 158 
Embroidery, damping, 155 
figure, 101-104 
finishing, 161 
ironing, 156 
lining, 160 
materials, 32, 33 
muslin, 86-93 
pasting, 155, 156, 157 
Renaissance, 126, 127,128 
Richlieu, 126, 127, 128 
solid muslin, 92, 93 
stretching, 153 
transferring, 148-152 
white, 78 
Emery cushion, 37 
Encroaching stitch, 47 
Eyelet holes, 80 

Factory frames, 30 

Faggotting, 144 

Fancy blanket edging, 168, 169 

,, stitches, marking, 81 
Fastening off, marking, 75 
Feathers, to work, 103 
Feather work shading, 49, 50, 51 
Figure Embroidery, 101-104 

,, „ drawing for, 101 

Fillings, marking, 81, 82, 85 
Filofloss silk, 32 
Filoselle, 33 

Finished work, mounting, 158-170 
Finishing cut or drawn work, 170 

„ embroidery, 161 
Fishbone weave, 136 
Flesh, to work, 101, 102 
Floss silk, 32 
Frames, 28, 29, 30 

„ and trestles, 28, 29 

„ factory, 30 

„ padded lap, 29 

„ parts of, 34 



Frames, ring, 30 

,, screw, 30 
Framing, materials for, 35 

,, methods of, 34-37 

French knot, 69, 70 
Fringe, knotted, 141, 162 
Fringes, 162 
Fringe, trellis, 162 

„ with tassels, 162 
Fur, to work, 103 

Genoa seam, 145, 146 

Gobelins stitch, 43 

Gold Work, 105-120 

,, broad stems, 109, 110 

„ cloth padding, 114, 115 

,, fiat pattern couching, 106, 107 
,. materials, 105, 106 

,, padded acorn, 115 

„ padding, 111-118 

,, padding with threads, 116 

„ parchment padding, 118 

„ sewing plate, 118, 119 

,, sewing purl, 117 

stems, 108-110 
,, string padding, 111, 112 

,, tracing, 106 

Gros point, 42 

Ground materials, 30, 31 

Hair, to work, 103 
Hand, 50 

Handwork, holding, 38 
Hemstitching, 140-143 

„ corner, 142 

Herringbone blanket edging, 167, 168 

„ plait stitch, 60 

Holes, eyelet, 80 
Holing, marking, 85 
Horsetail, 33 
Hot hands, powder for, 37 

Inlaid Work, 98-100 

„ couching, 100 

„ cutting out, 99 

„ tracing for, 99 

Instructions for transferring, 149 

Interlining, 160 

Ironing embroidery, 156 

Italian laid work, 55, 56, 57 

Japanese threads, 33 
Joining material, 143, 144 



Index 



179 



Index Knife, 28 

Knotted fringe, 141, 162 
Knot stitch, 62 

Lace scissors, 129 

,, to sew on, 170 
Laid Oriental stitch, 65, 66 

„ work, Italian, 55-57 
Lettering and marking, 75-85 
Letters, cross stitch, 76 

,, in outline, marking, 79, 80 
outline, 79, 80 
Linens, 30 

Lining embroidery, 160 
Long and short shading, 49. 50, 51 
Looped seam, 146, 147 

,. shading stitch, 59, 60 

.Madeira work, 129 
Mallard silk, 33 
Marking and lettering, 75-85 
„ commencing, 75 

cross stitch, 75, 76 
,, fancy stitches, 81 
,, fastening off, 75 

fillings, 81, 82, 85 
„ holing, 85 
, ; monogram, 80 
,, outline letters, 79, SO 
„ padding, 83, 84 
„ satin stitch, 83 
,, seeding, 85 
,, stems, 85 
,, white embroidery, ?.s 
Materials, applique, 94 

,, backings, 31, 32 
,, choice of, 20, 21 

,, damasks, 31 

for embroidery, 32, 33 
,, for framing, 35 

for grounds, 30, 31 
gold work, 105, 106 
,, joining, 143, 144 

„ linens, 30 

,, satins, various, 31 
,, selection of, 30 

,, silks, various, 31 

tracing, 24 
velvets, 31 
,, washing silks, 31 
Melore, 38 



Metal threads, 33 

,, work, applying, 149 
Methods of framing, 34, 35, 36, 37 
Missing parts, to insert, 152 
Monogram, marking, 80 
Mounting, effect of temperature, 1 58 
,, finished work, 158-170 
,, on wooden stretchers, 158 
„ professional, 158 
sachet, 159, 160 
with wadding, 159 
Muslin embroidery, 86-93 

Needles, 26, 27 

bead, 27 

chenille, 27 

crewel, 27 

curved, 27 

harness, 27 

round or egg-eyed, 27 

rug, 27 

tapestry, 27 
Numbers, catalogue, 173-175 

Object, choice of, 19, 20 
Old English work, 58-74 
Open seams, 143, 144 
Oriental stitch, 64 
Outline stitch, 58, 59 
Outlining, applique, 97 
Overcast hemstitch, 142, 143 
Overlapping spangles, 120 
Oversewing transfers, 150, 151 

Padded lap frames, 29 
Padding, cloth, 114, 115 

gold work, 111-118 
,, parchment, 118 

string, 111, 112 
,, white marking, 83, 84 

,, with threads, 116 

Parchment padding, 118 
Passing, threads, 33 
Paste for applique, 94 

„ for embroidery, 155, 156 
Pasting embroidery, 155, 157 
Patch, darning in, 130-133 

,, working in, 133 
Pattern darning, for background, 138 
Pearl purl, 33 
Pearls, 33 



180 



Petit point, 40, 41 

Picot, 124 

Pins, 28 

Plain hemstitching, 140, 141 

Plate, 33 

„ to sew, 118, 119 
Pounce, 24 
Pouncing, 24, 25 
Powder for hot hands, 37 
Precious stones, 33 
Preparing applique, 94, 95 
Pricker, 23, 24 
Pricking, 23 

Professional mounting, 158 
Purl, 33 

,, to sew, 117 
Purse silk, 32 

Reference, books of, 17G 
Renaissance embroidery, 126, 127, 128 
Reticella, elaborate, 125, 126 

„ simple, 122, 123 
Richlieu embroidery, 126, 127, 128 
Ring frames, 30 
Roumanian stitch, 64, 65 

Sachet, mounting, 159 

Samplers, 19 

Satins, 31 

Satin stitch, marking, 83 

Scissors, 26 

lace. 129 
Screw frames, 30 
Seams, faggotting, 144 
,, Genoa, 145, 140 
looped, 146, 147 
,, open, 143, 144 
Seeding, marking, 85 
Selection of materials, 30 
Sewing on cord, 161 
Shading, block, 48 

,, chain stitch, 51 
„ crewel stitch, 52 

,, feather work, 49-51 

„ long and short, 49-51 

,, solid, 48-57 

,, solid leaf, 53 

Silks, filofloss, 32 
„ filoselle, 33 
„ floss, 32 
„ horsetail, 33 
,, mallard, 33 



Silks, materials, 31 

,, purse, 32 
Simple blanket edging, 166, 167 
,, reticella, 122, 123 
„ tassel, to make, 163 
Single crewels, 32 
Six muslin stitches, 87-92 
Smyrna Edging, 169, 170 
Solid buttonholing, 121 
,, darning, 139, 140 
,, leaf, shading, 53 
,, muslin embroidery, 92, 93 
„ shading, 48-57 
Spangles, 33, 119, 120 

,, overlapping, 120 

Spider's web, 128 
Split stitch, 101, 102 
Square daisy stitch, 45, 46 
Stems, gold'work, 108, 109, 110 

„ marking, 85 
Stem stitch, 58 
Stiletto, 28 
Stitches, backstitching, 82 

berry, 71, 72, 73 

braid, 73, 74 

bullion, 69, 70 

buttonholing, 124 

canvas, 39-47 

chain, 61 

Cretan, 61 

crewel, 58 

crewel and link, 62 

crewel, chain and link, 63, 64 

cushion, 39-47 

diamond daisy, 44, 45 

double coral, 66, 67 

encroaching, 47 

fancy marking, 81 

French knot, 68, 69 

Gobelins, 43 

gros point, 42 

hemstitching, 140, 141 

herringbone plait, 60 

knot, 62 

laid Oriental, 65, 66 

looped shading, 59, 60 

muslin, 87-92 

Oriental, 64 

outline, 58, 59 

overcast hemstitch, 142, 143 

petit point, 40, 41 

picot, 124 



Index 



181 



Index Stitches, Roumanian, 64, 65 
satin, 83 
split, 101, 102 
square daisy, 45, 46 
stem, 58 
tent, 40, 41 
trellis filling, 65, 66 
Stones, 33 

Stretching Curtain, 154, 155 
„ embroidery, 153 

„ ironing & pasting, 153, 157 

String padding, 111, 112 

Tacking, applique, 96 
Tambour, threads, 33 
Tassel fringe, 162 
Tassels, 161, 166 
Tassels, varieties, 165, 166 
Tassel, to make, 163, 164, 165 
Tent stitch, 40, 41 
Thimbles, 26 
Threads, 32 

cotton, 32 

double crewels, 32 

filofloss, 32 

filoselle, 33 

floss silk, 32 

horsetail, 33 

Japanese, 33 

mallard silk, 33 

metal, 33 

passing, 33 

purse silk, 32 

single crewel, 32 

tambour, 33 

woollen, 32 
Toile ciree, use of, 78 
To insert missing parts, 152 
Tools, 26 

To sew on lace, 170 
Tracing designs, 25 
,, gold work, 106 



Tracing inlaid work, 99 
„ materials, 24 
,, wheel, 24 

Transferring antique work, 148 

,, arrangement for, 149 

,, basting, 149, 150 

„ canvas work, 151, 152,153 

,, designs, 23 

„ embroidery, 148-152 

„ instructions for, 149 

,, oversewing, 150, 151 

Transfers, to iron, 25 

Trellis filling, 66, 67 
,, fringe, 162 

Trestles and frames, 28, 29 

Turn-over, 49 

Twill darn, 135 

Velvet, applique on, 148, 149 
Velvets, 31 

Wadding, mounting, 159 
Warp, darning in, 134 
Washing silks, 31 
Wheel, tracing, 24 
White embroidery, marking, 78 
Wooden stretchers, mounting, 158 
Woollen threads, 32 
Wools, 32 

,, double crewels, 32 
,, single crewels, 32 [104 

Working drapery, couched metal, 103, 
,, encroaching stitch, 103 

,, laid work, 103 

,, long and short, 103 

Working feathers, 103 
flesh, 101, 102 
„ ,, long and short, 102 

„ fur, 103 
,, hair, 103 
„ in patch, 133 



182 



LIBRARY OF CONGRESS 





014 062 666 1 



